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The Order

March Books

The Daily

Mar 18, 2021 The range this month is wide, from Tsai Ming-liang to Ida Lupino, from Tobe Hooper to Josephine Baker.

Jan 28, 2021 Channel Calendars We’re thrilled to be celebrating Black History Month on the Criterion Channel with a lineup that salutes African American filmmaking pioneers like Gordon Parks and Madeline Anderson, spotlights the brilliant career of actor and activist Ruby Dee, presents...

Apr 3, 2020 Conversations with Frederick Wiseman and Quentin Tarantino and rediscoveries of forgotten critics and an Arab filmmaker are among this week’s highlights.

Sep 20, 2019 A fresh reading of Dr. Caligari, a deep dive into War and Peace, Terry Zwigoff’s “immersive screenings,” and Beyoncé’s multimedia project are among this week’s highlights.

Nov 20, 2018 In the aftermath of the political turmoil that swept through France in 1968, Sylvina Boissonnas used her wealth to sponsor some of the most radical films of the era, including works by Philippe Garrel and Jackie Raynal.

Jan 29, 2018 We begin with the series today, because Michael Haneke has just signed on to direct his first one, Kelvin’s Book. Deadline’s Nellie Andreeva tells us that the “English language, ten-part, high concept series is set in a dystopian world and...

Jan 8, 2018 Hirokazu Kore-eda has begun work on an as-yet-untitled film already slated for release in Japan in June, reports Patrick Frater for Variety. “The story, which the director has been developing for some ten years, involves a small girl who is...

Jun 28, 2017 Carice van Houten, seen above in Paul Verhoeven’s Black Book (2006), “is teaming with fellow Game of Thrones regular Nicolaj Coster-Waldau to star in Domino, the suspense thriller from Brian De Palma penned by Kon-Tiki scribe Petter Skavlan,” reports Deadline’s...

Nadav Kurtz on Paraíso

On the Channel

Jun 27, 2017 Director Nadav Kurtz discusses what he learned while making his short film Paraíso, which chronicles the lives of three skyscraper-window washers in Chicago.

Oct 4, 2011 Pier Paolo Pasolini’s landmark film intermingles the sacred and profane, associating libertines with holy music, the avant-garde of the thirties, and neoclassical and biblical references.

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