The Criterion Collection
Essays
Oct 1, 2020 — Martin Scorsese’s World Cinema Project No. 3 An artist, critic, and scholar highly respected in his native Iran but too little known in the West, Bahram Beyzaie is a gifted autodidact of traditional and modern theater and performing arts, and...
Essays
Sep 29, 2020 — Martin Scorsese’s World Cinema Project No. 3 What can it mean for cinema to be revolutionary? Answering a version of this question in a 1977 interview, the Cuban filmmaker Humberto Solás stressed the importance of real-world context. In a capitalist...
Apr 28, 2020 — I first fell in love with Miranda July’s work with her strange, wild, poignant short stories; her stories led me to her novel and first two feature films, which I watch so often that they have over time become spiritual...
Apr 30, 2019 — With these twin monuments of Hong Kong action filmmaking, Jackie Chan catapulted to international stardom, perfecting a unique blend of athleticism and populism.
Feb 13, 2017 — One Scene Romantic love is poignant because it is an infinite feeling that exists in a finite frame. And Richard Linklater’s Before Trilogy is the most romantic and profound of love stories because it imbues love with the weight of...
Feb 24, 2015 — Federico Fellini’s fragmentary and picturesque tale of death and debauchery in ancient Rome is a surreal take on reality.
Jun 9, 2014 — Your vigilance as an artist is an amorous vigilance, a vigilance of desire.—Roland Barthes to Michelangelo Antonioni, 1979 It’s lamentable that Michelangelo Antonioni, one of the most fashionable vanguard European filmmakers during the sixties, has mainly been out of fashion...
Essays
Dec 11, 2013 — This political drama was made in Mexico at a revolutionary moment and represents an extraordinary confluence of international talent.
Dec 11, 2012 — Cinema is both an educational tool and a vessel for kinetic, avant-garde expression for filmmaker and activist Godfrey Reggio.
Sep 26, 2012 — Countercultural icons Paul Bartel and Mary Woronov makes square subversive in Bartel’s cult classic.