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Mar 13, 2014 — Repertory PicksThe lovely domestic drama Equinox Flower (1958) was the first color film by the great Japanese director Yasujiro Ozu. Though this master of cinematic composition was initially resistant to moving to the relatively new process (the first color film...

Mar 13, 2014 — David Gordon Green’s George Washington makes cinematic poetry out of the tricky art of voice-over narration. In this excerpt from our special edition’s commentary track, writer-director Green and actor Paul Schneider discuss the earthy beauty that fourteen-year-old Candace Evanofski brings...

Mar 12, 2014 — Rarely does a director go into much detail about what he thinks doesn’t work about one of his own films, but Steven Soderbergh got candid with us in an interview about his disappointment with his 1995 film The Underneath—which he...

Mar 11, 2014 — Presenting  five poor, black and white North Carolina preteens as they awaken to love and death, George Washington (2000) tells a common adolescent story, yet the film is distinguished by the poetic, ruminative style of its twenty-five-year-old director, David Gordon...

Mar 9, 2014 —

Mar 7, 2014 — Did You See This?• Building Wes Anderson’s Hotel, and finding his Easter eggs • Awarding Chris Marker and Alain Resnais • Exploring early Fritz Lang films • What’s next for Paolo Sorrentino • Ghana posters a-go-go • Farran Smith Nehme...

Mar 6, 2014 — Jean-Luc Godard’s 1960 film Breathless not only launched the French New Wave and made the director’s name forever synonymous with French art cinema—it also made a star out of its leading man, the theretofore unknown Jean-Paul Belmondo. The following excerpt...

Mar 5, 2014 — A few years ago, as I was collaborating on the Criterion release of Last Year at Marienbad, I had the chance to meet Alain Resnais. We had released Hiroshima mon amour and Night and Fog a few years earlier, and...

Mar 5, 2014 — Filmmaker :: kogonada tweets at @kogonada and tumbles at missingozu.tumblr.com. You can view some of his work at kogonada.com.

Mar 4, 2014 — The great documentarian Claude Lanzmann’s new movie, made from footage he didn’t use in Shoah, provides a fascinating glipse at the way he began that monumental project.