The Criterion Collection
The singer-songwriter and visual artist talks about the punk sensibility of Jubilee, shares why Paris Is Burning is a film she can watch endlessly, and shouts out the Eurythmics’ unique soundtrack for 1984.
The actor talks about Steven Soderbergh’s use of nonlinear storytelling in Traffic, shares how Sid & Nancy continues to inspire him as a performer, and praises the visual poetry of Drugstore Cowboy.
The filmmaker talks about the hypnotic quality of L’avventura, praises Alan J. Pakula’s Paranoia Trilogy, and shares how David Fincher’s The Game helped kickstart his career.
The actor shares how This is Spinal Tap changed her life, praises the transportive quality of films like Danton and Monsoon Wedding, and talks about her personal connection to Sweet Smell of Success and The Manchurian Candidate.
The legendary fashion designer talks about falling in love with The Red Shoes, shares why Moonstruck is a perfect movie to watch anytime and with anyone, and delights in the haunting glamour of Isabella Rossellini in Blue Velvet.
The musician and author reminisces on her formative experiences watching Federico Fellini movies with friends, shares her love for the visual and emotional composition of Yi Yi, and talks about the haunting naturalism of Hirokazu Kore-eda’s work.
The legendary director, writer, cinematographer, and producer praises Charlie Chaplin as a father to all filmmakers, reflects on casting Jean-Louis Trintignant in A Man and a Woman after seeing Il sorpasso, and shares why love has been the enduring theme...
The actor and author talks about wishing he could have appeared in his favorite screwball comedy, The Awful Truth; praises the harrowing brilliance of Come and See; and shares his close connection to In a Lonely Place and Taste of...
The Oscar-winning composer selects favorite films that continue to excite him, including Andrei Rublev and Sid & Nancy; praises the transportive nature of Les Blank’s work; and shares how Nicolas Roeg changed his life.
The director and cowriter of Emilia Pérez shares his love for Fritz Lang’s rich visual language, compares Robert Altman’s narratives to “surrealist exquisite-corpse exercises,” and praises the Viennese sensibility of Max Ophuls’s La ronde.