The Criterion Collection
Mar 31, 2009 — Coed Magazine mysteriously popped up in our list of top referring sites yesterday, but it turned out not to be the campus publication we assumed it was. Seems the online laddie mag ran an interview (NSFW) with porn star Sasha...
Mar 30, 2009 — Here’s a quick birthday shout-out to Academy Award–winning, New German Cinema trailblazing Volker Schlöndorff, who turns seventy today. The tireless Schlöndorff is reportedly celebrating in (his) style: he’s currently on a reading tour through Germany, promoting his new autobiography, Light,...
Essays
Mar 30, 2009 — Among the great Polish filmmakers—Krzysztof Kieslowski, Krzysztof Zanussi, Agnieszka Holland, Roman Polanski—Andrzej Wajda stands out as the one most concerned with national identity and memory.
Mar 30, 2009 — You can add James Franco to the list of Criterion’s most ardent fans. This month, the actor, seen left in a photo recalling My Own Private Idaho, taken by Gus Van Sant in Oregon in fall 2008, has contributed to...
Mar 27, 2009 — Thanks to IFC Daily’s David Hudson for tipping us off to a couple of top-notch articles this week marking the fiftieth anniversary of the French New Wave. That’s right, it was fifty years ago, in May to be precise, that...
Mar 26, 2009 — We have some good news: preorders are back at criterion.com! We’ve worked out some kinks in the system, and starting today you can once again order upcoming Criterion titles and your credit card won’t be charged until your order is...
Mar 25, 2009 — J.Hoberman’s got a sharp and snazzy piece in the New York Times on American expat director Jules Dassin—just in time for Film Forum’s fifteen-film retrospective of his career. The blacklisted filmmaker of black-hearted crime dramas (and a couple of hot-blooded...
Mar 24, 2009 — With a sense of urgency, and a touch of morbidity, Yahoo! Movies has put out a list of “100 Movies to See Before You Die.” “To choose the titles for the list,” write Yahoo!’s editors, “we considered factors like historical...
Mar 23, 2009 — The most crowd-pleasing film of François Truffaut’s latter career is also one of his most personal, drawing from his memories of the German occupation of France, his schoolboy years and his lifelong infatuation with the creative arts.