The Criterion Collection
The Daily
Oct 7, 2019 — Critics respond to the New York Film Festival’s selection of new moving image art.
The Daily
Jun 10, 2019 — The new issue focuses on the impact of Alfonso Cuarón’s Roma, women’s film criticism, and Hollywood’s international productions.
Sneak Peeks
Jan 18, 2019 — Award-winning cinematographer John Bailey discusses the complications that Alfred Hitchcock faced trying to execute one of the most ambitious shots in his filmography.
Dec 26, 2018 — Members of the Criterion tech team headed to India last month to teach some practical skills in moving-image conservation at the Film Preservation & Restoration Workshop.
The Daily
Dec 12, 2017 — “Evil is ascendant,” begins Manohla Dargis in the New York Times. “The Resistance—an intrepid, multi-everything group whose leaders include a battle-tested woman warrior—has been fighting the good fight for years but is outnumbered and occasionally outmaneuvered. Yes, the latest Star...
Nov 30, 2017 — New York. With The Non-Actor, a Film Society of Lincoln Center series programmed by Dennis Lim and Thomas Beard, running through December 10, J. Hoberman writes a brief but rich history of the notion for the New York Review of...
On the Channel
Jun 27, 2017 — Director Nadav Kurtz discusses what he learned while making his short film Paraíso, which chronicles the lives of three skyscraper-window washers in Chicago.
On the Channel
Jan 1, 2017 — The Korda brothers’ voluptuous fantasy Jungle Book—directed by Zoltán, produced by Alexander, and art-directed by Vincent—captures that mood-swinging moment in late childhood when the adult world seems to be unbearably corrupt and nothing could be more exhilarating than escaping to...
Mar 15, 2016 — Set during the height of McCarthy-era paranoia and arriving in 1962, in the middle of the Cuban Missile Crisis, John Frankenheimer’s high-anxiety Communist conspiracy thriller tapped into the darkest fears of Cold War America.
Mar 8, 2016 — Paris Belongs to Us marked the genesis of Jacques Rivette’s unique filmmaking style—introducing visual and narrative elements that Rivette would build on over the course of his long career.