The Criterion Collection
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.
The singer-songwriter selects films that have had a deep influence on her music and visual style, shares how seeing Pina changed her as a performer, and talks about the portrayal of girlhood in Valerie and Her Week of Wonders.
The actor and producer praises the groundbreaking work of martial-arts legends Bruce Lee and Jackie Chan, shares her love for Alfonso Cuarón’s Roma, and remembers the thrill of seeing The Grifters for the first time.
The rapper, actor, and producer praises The Others as a “certified banger,” selects My Crasy Life and talks about the importance of chronicling the world around you, and finds inspiration in Melvin Van Peebles’s creative endurance
The writer and director expresses that Tampopo is really about “what lies in the depths of the human heart,” explains how Carl Theodor Dreyer’s films depict feelings and ideas that can only be portrayed through cinema, and admires Federico Fellini’s...
The editor of the New Yorker feels honored by the tribute to the magazine in The French Dispatch of the Liberty, Kansas Evening Sun, urges patience to appreciate Stan Brakhage’s experimental cinema, and finds parallels between the experiences of watching...
The actor and writer reflects on the impact that Lena Dunham’s Tiny Furniture has had on her work, talks about finding Women on the Verge of a Nervous Breakdown relatable, and discusses the uncomfortable humor in Happiness.
The writer and director talks about the innovative low-budget filmmaking of Detour, shares her love for The Battle of Algiers and its unrelenting “metronome of tension,” and praises Costa-Gavras as the inventor of the political thriller.
The filmmaker and artist shares his intimate connection to The Color of Pomegranates, talks about the “invisible magic” of Edward Yang’s cinema, and praises the innovative cinematography in Tokyo Olympiad.
The writer and director returns to the Criterion Closet, where he talks about a moment from Black Narcissus that’s ingrained in his memory, shares what he loves about Max Ophuls and The Earrings of Madame de . . ., and...