The Criterion Collection
The writing and directing partners behind the new show A Murder at the End of the World talk about the influence of Alan J. Pakula, share their deep connection to The Double Life of Véronique and After Life, and praise...
The director of The Tin Drum and Young Törless says a prayer to the spirits of the closet and makes a beeline for a masterpiece by Michelangelo Antonioni.
The philosopher names Trouble in Paradise “Ernst Lubitsch’s ultimate masterpiece,” praises Peter Weir’s early films, and calls the final scene of City Lights “the most sublime ending.”
The Palme d’Or–winning director praises Catherine Breillat’s cinematic exploration of sexuality, talks about Gena Rowlands and John Cassavetes’s collaborations, and shares a story from the set of one of his films.
The director of The Right Stuff and The Unbearable Lightness of Being selects a group of films that he hopes will inspire him in his own work, including Amarcord, The Wages of Fear, Fanny and Alexander, and The Battle of...
The Oscar-winning costume designer recalls a memorable screening of Down by Law in Rome and explains what makes the Italian classics Bicycle Thieves and The Leopard so revelatory.
The director of Something Wild reminisces about his encounters with John Cassavetes, Jean Renoir, and David Lean.
The director of Creep, The Overnight, and Corporate Animals calls Wings of Desire the film that made him want to make movies, talks about his belated discovery of All That Jazz, and pays tribute to Wes Anderson.
The beloved actor shouts out the brilliance of Marlon Brando, calls Dazed and Confused “a staple” of any good film library, and salutes the magic of Charlie Chaplin.
The writer-director talks about the Yasujiro Ozu classic that inspired his film Little Men, the underrated work of Francesco Rosi, the golden age of repertory cinema in New York City, and a college course in which he studied Shoah for...