The Criterion Collection
The Daily
May 20, 2017 — “If he hadn’t already laid claim to the title of king of the cringe-inducing confrontation and nabob of the nervous laugh with the withering Force Majeure, Ruben Östlund truly anoints himself with The Square, an excoriating razor-burn of a movie...
May 18, 2017 — Loveless is “two hours of gorgeously gloomy existential despair courtesy of the well-regarded Russian filmmaker Andrey Zvyagintsev,” writes Justin Chang in the Los Angeles Times. “Often touted as an heir to Tarkovsky, Russian cinema’s other famously austere Andrey, Zvyagintsev previously...
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...
Apr 17, 2017 — A group of Cuba’s most seasoned musicians became an international sensation upon the release of this acclaimed documentary portrait.
Features
Apr 2, 2017 — What defines noir acting? In her latest Dark Passages column, Imogen Sara Smith examines the stylistic variety in some of the genre’s most iconic male performances, including Burt Lancaster in The Killers and Ralph Meeker in Kiss Me Deadly.
Mar 1, 2017 — In his most seductive experiment with cinematic time, Richard Linklater wrestles with the joys and challenges of long-term intimacy.
Feb 23, 2017 — The week before Get Out opened to groundbreaking box-office success, we spoke with the director about the fine line between comedy and horror.
In Theaters
Feb 9, 2017 — Repertory PicksStarting tomorrow, New York’s Japan Society will host a weekend-long celebration of actor Meiko Kaji, whose vigorous performances as outlaw women made her one of Japan’s biggest stars in the sixties and seventies. On Saturday, you can see her...
Features
Jan 15, 2017 — To make the performance of a tedious, exacting, time-consuming task riveting to watch, it is only necessary for the activity to be illegal.
Jan 11, 2017 — A revelatory restoration of Lewis Milestone’s underappreciated newsroom comedy accentuates the film’s punchy rhythms and breakneck banter.