The Van

May 20, 2017 — “Robin Campillo’s 120 Battements Par Minute [BPM (Beats Per Minute)] is a passionately acted ensemble movie about ACT UP in France in the late 80s, the confrontational direct-action movement which demanded immediate, large-scale research into AIDS,” begins the Guardian’s Peter...

Jun 5, 2006 — Painful, beautiful, and discomfiting, Maurice Pialat’s coming-of-age drama remains as startling in its honesty, its unique mix of savagery and delicacy, as it was in 1983.

Jun 22, 2009 — So much critical ink has been shed over Last Year at Marienbad that one might wonder if the flood of commentary, once receded, would take the film along with it. Alain Resnais’ second feature has been lavishly praised and royally...

Sep 12, 2024 — In celebration of our fortieth anniversary, Criterion has built a replica of our famous films closet inside an eighteen-foot delivery van, and later this month, we’ll be taking our Criterion Closet Picks show on the road.

Feb 2, 2026 — One of the most influential composers of his generation, Max Richter is known for his ability to seamlessly blend traditional orchestrations with modern electronic elements. Among the more than fifty projects that he has scored are films by Denis Villeneuve,...

Mar 30, 2009 — You can add James Franco to the list of Criterion’s most ardent fans. This month, the actor, seen left in a photo recalling My Own Private Idaho, taken by Gus Van Sant in Oregon in fall 2008, has contributed to...

Jul 15, 2025 — Much of the program upends assumptions about the postwar years as a period of relative calm and conformity.

May 6, 2024 — Perhaps the most hard-to-categorize of the great Hollywood studios came into its own with a string of critically acclaimed films based on popular books and plays, including Born Yesterday, A Raisin in the Sun, and From Here to Eternity.

Mar 21, 2024 — Film at Lincoln Center presents all fourteen features by the director of The Saragossa Manuscript (1964) and The Hourglass Sanatorium (1973).

Jul 25, 2023 — The protagonists in Budd Boetticher’s five classic Columbia westerns are paired with opponents who, venal though they may be, almost always have their reasons.