The Criterion Collection
Feb 12, 2013 — The Dardenne brothers return to the streets of Seraing for a typically humane and suspenseful story of personal redemption.
Jan 15, 2013 — Despite the acclaim, Volker Schlöndorff always felt his adaptation of Günter Grass’s novel was incomplete. Thirty years later, he set to work on his director’s cut.
Dec 18, 2012 — One Scene Every time I watch Ingmar Bergman’s Scenes from a Marriage, I am stunned that a film could be so full. Here is this thing stuffed with detail, design, behavior, emotion, surprise, and skill. Like Fanny and Alexander and...
Nov 13, 2012 — With this frenetic cinematic fresco, Pasolini began his Trilogy of Life and its forays into a world as yet unspoiled by capitalism.
In Theaters
Oct 25, 2012 — Repertory Picks As unspeakably horrific as much of Antichrist is, the film occasionally walks the line between the scary and the wacky. Among its claims to infamy is the instant-classic sequence in which Willem Dafoe encounters a rather talkative fox...
Short Takes
Oct 3, 2012 — Every ten years since 1952, the world-renowned film magazine Sight & Sound has polled a wide international selection of film critics and directors on what they consider to be the ten greatest works of cinema ever made, and then compiled...
Sneak Peeks
Aug 20, 2012 — In conceiving his film Weekend, British writer-editor-director Andrew Haigh posed a challenge to himself—to create a tale of two men falling in love that would both honestly reflect the contemporary gay experience and appeal to a wider, heterosexual audience. There’s no question...
Short Takes
Aug 13, 2012 — Every ten years since 1952, the world-renowned film magazine Sight & Sound has polled a wide international selection of film critics and directors about what they consider to be the ten greatest works of cinema ever made, and then compiled...
Jun 26, 2012 — Hiroshi Inagaki’s action epic is as responsible for creating Toshiro Mifune’s legendary cinematic persona as the films of Kurosawa.
May 29, 2012 — Harriet Andersson’s Monika is both an erotic object and an empowered female protagonist in Bergman’s groundbreaker.