No

Nov 10, 2008 — The life and work of American writer and painter Manny Farber, one of the most celebrated and idiosyncratic voices in the history of film criticism, will be honored by New York's Film Society of Lincoln Center in a two-week festival—simply...

Nov 4, 2008 — Postelection blues? Need a political fix and don’t know where to turn now that all the polling data is in? In an effort to fill that void, the Washington Post today recommends a list of great politically themed television on...

Oct 29, 2008 — Goetz Spielmann’s Revanche, a 2008 festival favorite and Austria’s submission for the best foreign film Oscar, has found a North American home with sister companies Janus Films and the Criterion Collection. In a rare step into the first-run business, Janus...

Oct 14, 2008 — Okay, quiz time. What does the music video for Justin Timberlake’s “SexyBack” have to do with the Criterion Collection? Give up? Well, it was shot by none other than ace director of photography Christopher Doyle, whose work is being brought...

Oct 9, 2008 — Lola Montès, Max Ophuls’s final film and some would say greatest masterpiece, opened today in New York and Los Angeles in what is being touted as the definitive restoration. Butchered by its producers and a flop on initial release in...

Oct 6, 2008 — Jean-Pierre Melville’s ninth and to that point most commercially successful feature in France, was an important watershed in the director’s career.

This explosion of vibrant, innovative, and highly self-conscious films from France in the late 1950s and early 1960s changed the game.

Delicately riding the line between pulp and art, these films refuse to be marginalized, lower budgets and lack of Hollywood gloss be damned.

Jul 7, 2008 — Sometimes it’s pretty tough for me to divorce my inner fanboy from the (probably unrealistic) ideal of a business-only, detached producer. One such moment was when I saw that Anthony Mann’s The Furies was a part of our Paramount deal....

Jun 16, 2008 — Decades later, we’ve come to understand that Claude Sautet’s film—in a less gaudy and obvious, more secretive, insidious way—was just as revolutionary as Breathless.