The Criterion Collection
Essays
Jun 18, 2007 — Yasujiro Ozu had already directed forty-five features by the time he started work on Early Spring, in 1955, but the artistic and commercial success of his previous film, Tokyo Story (1953), had rejuvenated him.
Aug 27, 2019 — In 1986, having made a number of child-centered films in his position as the head of the filmmaking division at Iran’s Center for the Intellectual Development of Children and Young Adults (an organization Iranians call Kanoon), Abbas Kiarostami accepted a...
In Theaters
May 25, 2016 — Repertory PicksFor the past month, Minneapolis’s Trylon microcinema has devoted its screen to the films of Robert Mitchum—nine of them in total. This weekend marks the finale in the series, Robert Mitchum: Cheap, Flash, and Brilliant, and the theater is...
Jan 16, 2018 — The ravages of poverty in contemporary Britain are translated with vivid authenticity in this drama from celebrated filmmaker Ken Loach.
The Daily
Mar 25, 2025 — The Cinémathèque presents six shady tales from the 1970s.
Mar 8, 2018 — The first item to be mentioned is Martin Scorsese’s post on Instagram the other day: “That’s a wrap!” Principal photography on The Irishman, starring Robert De Niro, Al Pacino, Joe Pesci, Anna Paquin, Bobby Cannavale, Harvey Keitel, and Ray Romano,...
Jun 25, 2015 — Theater directors, filmmakers, writers, actors, and longtime friends André Gregory and Wallace Shawn have collaborated on three movies together: My Dinner with André (1981), Vanya on 42nd Street (1994), and A Master Builder (2014).
Jan 19, 2017 — Rainer Werner Fassbinder plays a working-class gay man hoodwinked by his uppity bourgeois lover in this unsparing portrait of queer culture in 1970s West Germany.
The Daily
Feb 7, 2024 — Metrograph presents three of Gomis’s own features along with two he’s chosen for the weekend series.
Features
Mar 25, 2024 — What makes a “bad” movie anyway? By surveying the bombs, disasters, and secret masterpieces (dis)honored at the Golden Raspberry Awards, we can learn much about American cinema’s prevailing standards of taste.