The Criterion Collection
Oct 30, 2008 — In town for the New York Film Festival screenings of his much-admired A Christmas Tale, French director Arnaud Desplechin talked to Dennis Lim about his always allusive filmmaking style and his particular influences in making this dysfunctional-family holiday film, including...
Oct 29, 2008 — Goetz Spielmann’s Revanche, a 2008 festival favorite and Austria’s submission for the best foreign film Oscar, has found a North American home with sister companies Janus Films and the Criterion Collection. In a rare step into the first-run business, Janus...
No one has influenced modern filmmaking more than this French New Wave pioneer. He was one of our greatest lyricists on historical trauma, religion, and the legacy of cinema.
Candy-colored, lush, lurid—all words that have been used to describe the glory of Technicolor.
After making his mark in the early thirties with two very different films, this French master closed out the decade with two humanistic studies of French society that routinely turn up on lists of the greatest films ever made.
Once widely misunderstood, this French master of suspense dealt in misanthropic, black-humored tales and is now recognized to be among the greatest directors of the 1950s.
With this vital movement, Italian filmmakers delivered an urgent response to political and economic turmoil in the wake of World War II.
This Swedish master made existential and soul-searching films that constitute one of the richest bodies of work in the history of cinema.
Oct 21, 2008 — TECHNICOLOR, ROME—What a day! After spending the morning with Antonio Salvatori, the original color timer on Rosi’s The Moment of Truth and Antonioni’s Identification of a Woman, we were lucky enough to run into the great master Giuseppe Rotunno, who...
Oct 20, 2008 — Costa-Gavras’s film pointedly raised issues that for many people were only dimly in the air at the time, and which have become more and more unavoidable in recent years, as the United States has openly assumed its imperial role.