The Criterion Collection
Sneak Peeks
Apr 24, 2014 — Film scholar extraordinaire David Bordwell is among our most meticulous writers on the art of cinema, looking closely at the construction of a film to see what makes it work and how its technical approach reflects its historical moment. We...
Sneak Peeks
Apr 23, 2014 — Dino Risi’s Il sorpasso, coming out next week in a Criterion edition, was an inspiration for Alexander Payne’s Oscar-winning Sideways. Being such a fan of the film, which is beloved in Italy but underappreciated here in the U.S., Payne agreed...
Apr 22, 2014 — Carl Theodor Dreyer’s spare and modern visual style perfectly complements this comic and soulful domestic comeuppance story.
Apr 21, 2014 — A real-life prison uprising inspired this two-fisted tale directed by Don Siegel, who would go on to make many more films about men in extreme situations.
Apr 18, 2014 — Did You See This?• The best animated films of all time • Olivier Assayas, David Cronenberg, Mike Leigh, and others going to Cannes • Our Frances Ha essayist dances off with a Pulitzer! • British Pathé opens its vaults. •...
Interviews
Apr 18, 2014 — The following interview, conducted by Stig Björkman, originally appeared in Björkman’s 1999 book Trier on von Trier.
Production Notes
Apr 15, 2014 — In the 1950s, many Japanese directors made films that urgently reflected the postwar realities of their country, from economic struggle to nuclear fallout. Another common theme was the influence of American culture on Japan, as seen in films by Nagisa...
Apr 14, 2014 — Lars von Trier brought his brand of provocation to his widest audience yet with this inquiry into faith and human goodness.
Sneak Peeks
Apr 9, 2014 — As Emily Watson told us in an interview for our release of Breaking the Waves, which comes out next week, she had “hardly been in front of a camera ever before” when she shot Lars von Trier’s devastasting and explicit...
Essays
Apr 8, 2014 — In telling the story of the young outcast Antoine Doinel, François Truffaut was moving both backward and forward in time—recalling his own experience while forging a filmic language that would grow more sophisticated throughout the 1960s.