The Criterion Collection
The writer and director talks about the connection between Le corbeau and Salò, or The 120 Days of Sodom; praises the strength of Kira Muratova and Larisa Shepitko; and selects Deep Crimson for his friend, Arturo Ripstein.
The singer-songwriter reminisces about the pleasure of discovering Czechoslovak New Wave films on trips to the video store, shares why Moonstruck ignited her Nicolas Cage fandom, and praises the use of classical music in The Piano Teacher.
The director of Cowboy Bebop shares his love for The Killing of a Chinese Bookie and how John Cassavetes blurred the line between fictional drama and realism, talks about what makes Branded to Kill a mesmerizing masterpiece, and finds inspiration...
An epic elegy set in 1920s Oklahoma, a vision of life in the wake of nuclear devastation, one of the most intoxicating love stories ever told, a Hong Kong action tour de force, a hard-boiled gangster noir, and an irreverent...
The actor fondly recalls working with David Lynch on Inland Empire, praises the comedic brilliance of Albert Brooks, and mentions Robert Altman and Spike Lee as directors whose films capture “the essence of culture, community, and truth.
The singer, songwriter, actor, and producer reminisces about having her mind blown by Céline and Julie Go Boating, shares how watching David Cronenberg’s movies helped her escape the repetitiveness of life on the road and praises the unabashed beauty of...
The writer, director, and producer praises Black Orpheus and Killer of Sheep as his favorite works of Black cinema, talks about the influence of Risky Business on his film House Party, and admires the depth of Bruce Lee’s performance in...
The actor and director shares her love for the films of Céline Sciamma, talks about the Olympic Games documentary Visions of Eight, and reminisces about watching Berlin Alexanderplatz with her mom.
The writer and director talks about the impact that Vittorio De Sica’s Bicycle Thieves has had on his life and how seeing it for the first time revealed the kind of cinema he wanted to amke himself.
The writer and director of Magellan praises the use of silence and space in Le samouraï, talks about how Mike Leigh and Kenji Mizoguchi explore the human condition in their films, and selects his good friend Béla Tarr's Werckmeister Harmonies.