The Criterion Collection
The Daily
Oct 6, 2017 — Back when Projections was still called “Views from the Avant-Garde,” the New York Film Festival described its program as a “yearly touchstone for experimental film.” Now neither of those terms—“avant-garde” and “experimental”—are quite broad enough to encompass all that goes...
The Daily
Oct 5, 2017 — This is the documentary that put an end to Steven Spielberg’s plans to produce a narrative feature—to be directed by Sam Mendes—based on Gay Talese’s book, The Voyeur’s Motel. Spielberg had bought the rights after the New Yorker ran an...
Sep 17, 2017 — There’s no getting around the loaded real-world context on this one. For the Daily Beast, Richard Porton begins with the “various accusations about [Louis C.K.’s] supposed sexual misconduct, which have been floating around for years since a 2012 Gawker story...
The Daily
Sep 6, 2017 — When Dee Rees’s Mudbound premiered at Sundance, I gathered a first round of reviews, beginning with Justin Chang’s for the Los Angeles Times: “Adapted from Hillary Jordan’s novel, Mudbound sketches a vivid, dirt-under-the-nails panorama of 1940s Mississippi farm country, centered...
Nov 15, 2016 — Akira Kurosawa lays bare his deepest fears in this visually astonishing interpretation of folklore, myth, and the director’s own dreams and memories.
Mar 15, 2016 — Set during the height of McCarthy-era paranoia and arriving in 1962, in the middle of the Cuban Missile Crisis, John Frankenheimer’s high-anxiety Communist conspiracy thriller tapped into the darkest fears of Cold War America.
Features
May 30, 2014 — The long relationship between director and festival has never been without its complications.
Sep 25, 2013 — Roberto Rossellini’s tale of modern sainthood demonstrates the importance of opening oneself to the wider world.
Essays
Jan 22, 2013 — With his unique use of new 3D technology, Wim Wenders found an unprecedented way for the movie camera to capture bodies in space.
Sep 26, 2012 — Countercultural icons Paul Bartel and Mary Woronov makes square subversive in Bartel’s cult classic.