The Criterion Collection
Nov 2, 2016 — The morning after opening his first theater in Brooklyn, Alamo Drafthouse cofounder stopped by Criterion to chat about his life as a collector
May 1, 2015 — In his first feature, Jean-Pierre Melville found subtly radical ways to adapt Vercors's underground French novel about quiet resistance against the German occupation.
Feb 11, 2008 — Though today he is most fondly remembered for his later romantic comedies, typifying Hollywood filmmaking in its heyday, it should be known that Ernst Lubitsch was also a pioneer of the modern movie musical.
Apr 28, 2026 — As the 1950s began, Kinuyo Tanaka found herself at a turning point. She had been acting in films since she was fourteen, becoming one of Japan’s most beloved, admired, and prolific women stars. Now in her early forties, she saw...
Jan 27, 2021 — A film that centers on a transgender person or storyline enters the culture like any other movie. The difference lies in the discourse around it. A pervasive disregard for the realities of trans experience beyond the screen is evident in...
Aug 11, 2020 — I’ve often found that the most successful short films and short stories apply what Ernest Hemingway called the “iceberg theory,” distilling a larger narrative into a very specific moment that allows audiences to infer the bigger picture in their own...
Apr 9, 2018 — Ingrid Bergman’s work in her native Sweden was an early showcase for her dazzlingly precocious talent and emotional depth.
Sep 1, 2017 — “A single slur becomes the lightning rod for a court case that grips but also bitterly divides a nation in The Insult, the latest feature from Lebanese director Ziad Doueiri (The Attack),” begins Boyd van Hoeij in the Hollywood Reporter....
May 23, 2017 — “For ardent Hong Sangsoo fans, 2017 couldn’t be a more rewarding year,” writes Bradley Warren at the Playlist. “Not just because the South Korean filmmaker has three new films ready—the first, On the Beach at Night Alone, launched in Berlin—or...
May 19, 2014 — As in his other films, the world of Abbas Kiarostami’s latest is one of simulation, not-quite-realness, and unexpected tenderness.