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This Is the End

May 22, 2017 — “She is an 88-year-old film directing icon with a two-tone purple rinse,” begins David Jenkins at Little White Lies. “He is a 33-year-old photographer and conceptual artist who likes to wear a silly little trilby hat. Together, they amble around...

Twin Peaks Returns

The Daily

May 21, 2017 — Tonight, Sunday, May 21, 2017, Twin Peaks returns, just as Laura Palmer (may have) predicted it would twenty-five years ago, give or take. Eighteen one-hour episodes, all directed by David Lynch and cowritten with the show’s original co-creator, Mark Frost....

May 20, 2017 — “The film industry is full of unassuming figures quietly holding everything together without ever demanding a share of the limelight,” begins Gwilym Mumford in the Guardian. Filmworker, a “tender documentary” premiering in the Cannes Classics program, “makes time to profile...

May 19, 2017 — Let’s open today’s round of interviews with one from the archives, a conversation with Michelangelo Antonioni that originally ran in Corriere della Sera in 1982 but evidently took place during the final stages of shooting Blow-Up (1966). It’s been translated...

Where Were We?

The Daily

May 17, 2017 — Welcome to the first entry of the Daily at the Criterion Collection. For those of you who don’t know me, since 2003 I’ve been gathering links to essential—or simply fun—reading, news stories, and items of interest into a sort of...

Mar 29, 2017 — Film journalist Mark Harris stopped by Criterion to chat about the growing pains that five Hollywood filmmakers experienced during World War II.

Feb 20, 2017 — Joan Crawford delivers one of her greatest performances in Michael Curtiz’s unsparing look at class, ambition, and the all-consuming intensity of maternal love.

Nov 16, 2016 — The joy of new love collides with the anxieties of everyday life in Paul Thomas Anderson’s off-kilter foray into romantic comedy.

Oct 15, 2015 — Arnaud Desplechin stopped by for a visit and dispensed a few of his gems of wisdom.

Aug 17, 2015 — François Truffaut’s love letter to the movies is a lightheartedly self-reflexive symphony of camera movement and musical flourish.

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