The Criterion Collection
May 9, 2004 — With his vibrant chronicle of an Oedipal revolt, Volker Schlöndorff captures the source novel’s singular recreation of the German past.
Sep 22, 1997 — I ?rst read The English Patient in one gulp, sitting in a room on 77th and Columbus the morning after I’d ?nished a sweltering summer of ?lming in New York. When I put the book down, it was dark, and...
The actor, writer, and director shares what makes Michael Haneke and Robert Bresson such exceptional filmmakers, praises the cinematography of Alfonso Cuarón’s Roma, and talks about the power of representation in Do the Right Thing and El Norte.
The writer and director returns to the Criterion Closet, where he talks about the infectious energy of Night and the City, shares why Beau travail and Cold Water were transformative works for independent filmmakers in the 1990s, and praises the...
The actor and producer talks about memorable needle drops in Amores perros and Blow-Up, reflects on how documentaries can transport you into another world, and praises the haunting atmospheres of Birth and Eyes Wide Shut.
The composer reflects on his profound experience working on Barry Jenkins’s The Underground Railroad, praises favorite scores by Bernard Herrmann and Zbigniew Preisner, and shares why La Jetée inspires him to think about cinema’s infinite possibilities.
The writer and director talks about how Girlfight reflects the vibrant spirit of director Karyn Kusama, praises Topsy-Turvy as his favorite Mike Leigh film, and takes home Hell’s Angels to watch with his wife, Hollywood historian Karina Longworth.
The writer and director returns to the Criterion Closet, where he pays tribute to David Lynch, praises Mikey and Nicky as a perfect collaboration between a director and actors, and reminisces about watching Persona in Ingmar Bergman’s theater on Fårö...
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 actor and director praises Black God, White Devil as one of the most important Brazilian films ever made, talks about the complex humanity of Il Posto, and reflects on why Jean-Pierre and Luc Dardenne are his favorite filmmakers.