The Criterion Collection
Jun 7, 2015 — Critic Glenn Kenny reveals the connection between two classics: Nicolas Roeg’s film Don’t Look Now and Robert Wyatt’s album Rock Bottom.
Jun 19, 2013 — Disorienting, brutal, and bloody beautiful, František Vláčil’s epic is a dark medieval vision teeming with cinematic invention.
Oct 16, 2012 — After breaking out with Maria Full of Grace, filmmaker Joshua Marston visited a strange new land with persistent and deadly traditions.
Jun 26, 2012 — Hiroshi Inagaki’s action epic is as responsible for creating Toshiro Mifune’s legendary cinematic persona as the films of Kurosawa.
Apr 17, 2012 — When it was first released in 1977, ¡Alambrista! depicted something previously unseen in American fiction films—the lives of undocumented Mexican immigrants from their point of view. Though writer-director-cinematographer Robert M. Young was not Latino and didn’t speak Spanish, his film convincingly...
Dec 16, 2008 — More than a year ago, Peter and I were in the midst of discussions about how we wanted to launch the Criterion cinematheque. Over time, those discussions expanded to include every department at Criterion. We wanted to have a single...
Jan 21, 2008 — In September 1997, I saw Agnès Varda introduce a brand-new 35 mm print of her first feature film, La Pointe Courte (made in 1954), to an admiring audience at Yale University. More astonishing than the luminous black-and-white images was Varda’s...
Jan 22, 2007 — A delightfully old-fashioned morality tale, Robert Day’s low-budget space flick is far more than the standard monster fare it was initially sold as.
Nov 6, 2006 — The circumstances of our first encounters with movies are often as memorable as the movies themselves. Sometimes the juxtaposition of movie and circumstance seems merely accidental; but there are those films that change us enough that we can identify the...
Mar 14, 2005 — A director is naturally a man like everyone else. Yet his life isn’t normal. For us, seeing is a necessity. For a painter, too, the problem is to see. But while the painter has to discover a static reality, or...