Love in the Villa

May 18, 2017 — Loveless is “two hours of gorgeously gloomy existential despair courtesy of the well-regarded Russian filmmaker Andrey Zvyagintsev,” writes Justin Chang in the Los Angeles Times. “Often touted as an heir to Tarkovsky, Russian cinema’s other famously austere Andrey, Zvyagintsev previously...

Mar 21, 2017 — A “celluloid atrocity” overflowing with deviant shenanigans, John Waters’s low-budget satire makes mincemeat of the peace-and-love era.

Feb 23, 2017 — The week before Get Out opened to groundbreaking box-office success, we spoke with the director about the fine line between comedy and horror.

Jan 13, 2017 — Did You See This? In remembrance of the late, great David Bowie, Sight & Sound examines the icon’s connection to cinema. Apart from his on-screen appearances, the influence of film manifests in everything from his groundbreaking videos and “widescreen” musical...

Sep 30, 2016 — Did You See This? In anticipation of the fifty-fourth annual New York Film Festival, opening tonight, Indiewire has surveyed the must-see films playing in the revivals section, including Gillo Pontecorvo’s The Battle of Algiers, Tomás Gutiérrez Alea’s Memories of Underdevelopment,...

Sep 16, 2016 — Did You See This? Over at The Quietus, director Joe Dante selects his thirteen favorite films, including David Lynch’s Mulholland Dr., Preston Sturges’s Sullivan’s Travels, and Ernst Lubitsch’s To Be or Not to Be. Angelo Badalamenti sits down with Vulture...

Oct 2, 2015 — We were delighted when Greek director Yorgos Lanthimos and his wife, the actress Ariane Labed, dropped by for lunch in the Criterion kitchen on Monday.

Apr 24, 2015 — Atypical in style and subject, Yasujiro Ozu’s early crime dramas show a future master brilliantly experimenting with camera and editing.

Jul 15, 2014 — Among the brainiest of all horror movies, David Cronenberg’s film goes beyond shock to investigate a disturbing world of psychic mutation.

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.