The Criterion Collection
Essays
Mar 29, 2011 — As the only film of a Gilbert and Sullivan opera brought to the screen with the participation of the D’Oyly Carte Opera Company, Victor Schertzinger’s 1939 Technicolor The Mikado is a unique specimen; however one rates it, there is nothing with...
Essays
Apr 21, 2009 — “Just takes a few months to get to be a hundred. If you’re in the right place at the right time.” I first saw Henri-Georges Clouzot’s masterpiece The Wages of Fear when the restored version was released in the U.S.,...
Aug 18, 2008 — One of the most awarded films in Japanese history, Keisuke Kinoshita’s nostalgia piece unfolds a celebration of family values and scenic beauty.
Aug 18, 2003 — The two versions of Vittorio De Sica’s neorealist romance offer case studies in Hollywood and European sensibilities as they existed in the early 1950s.
Jul 9, 2001 — John Schlesinger’s classic is an exuberant satire of a society caught between its old ways and the urge to modernize.
Features
Mar 9, 2020 — “My objective is to create my own world, and these images which we create mean nothing more than the images which they are.” Andrei Tarkovsky More than three decades after his passing, the films of Andrei Tarkovsky retain their ability...
Features
Feb 23, 2017 — An elder statesman of independent filmmaking, Samuel Fuller spun his newsroom and frontline experiences into his movies, developing a unique cinematic voice that was always raw and personal.
Jul 25, 2014 — Erik Skjoldbjærg’s sun-drenched noir follows a detective trying to conceal his amoral actions amid unforgiving daylight.
Houston native Wes Anderson’s idiosyncratic directorial style—marked by eccentric, colorful compositions and a fastidious attention to detail—seemed completely anomalous in the U.S. independent film landscape at the outset of his career. But it’s become such an influence on other homegrown...