The Criterion Collection
The Daily
Oct 31, 2017 — New York. “Cinema began less as an art, more as a curiosity,” writes Tyler Maxin at Screen Slate. “Its early practitioners were hucksters, charlatans, and illusionists, and its direct predecessors were phantasmagoria, magic lanterns, vaudeville, and sideshows.” Tonight at Light...
The Daily
Jul 27, 2017 — Venice International Film Festival director Alberto Barbara has presented the lineup for the seventy-fourth edition (August 30 through September 9) at a press conference in Rome. I’ve gathered notes and trailers.CompetitionAi Weiwei’s Human Flow. From the Hollywood Reporter’s Tatiana Siegel:...
Feb 16, 2016 — In Death by Hanging, Nagisa Oshima spins a complex aesthetic web around his documentary-like structure, packing detail, history, politics, and emotion into his surrealist inquiry into capital punishment.
Interviews
Apr 18, 2014 — The following interview, conducted by Stig Björkman, originally appeared in Björkman’s 1999 book Trier on von Trier.
Oct 16, 2013 — Georges Franju deftly balances fantasy and realism, clinical detachment and operatic emotion, beauty and pain, all presided over by Edith Scob’s haunting, haunted eyes.
Jul 24, 2012 — Trained as a musician, Jean Grémillon became one of French cinema’s most lyrical artists. His most beloved films were made during World War II.
Essays
Feb 20, 2011 — Melodrama has a bad reputation because it has been abandoned to schematic and conventional interpretation. —Luchino ViscontiSenso, Luchino Visconti’s extraordinarily lush 1954 movie, was never truly released in America. Even though an American star, Farley Granger, and a European star,...
Sep 22, 2009 — Abandoning the cinematic conventions and references that informed his previous works, Jean-Luc Godard’s explosive crime drama reaches new heights of spontaneity and lightning invention.
Essays
Jul 21, 2008 — A dreamy alternative to the standard notion of horror, Carl Theodor Dreyer’s phantasmal film reimagined the figure of the vampire.
Jul 16, 2008 — The locations for many of Ingmar Bergman’s most dramatically spare films have existed for so long in moviegoers’ minds as stark black-and-white dream states that to walk through them in living, vibrant color is truly transformative. Imagine the harsh, pebbled...