The Criterion Collection
The writer-director of Janet Planet joins the film’s editor in praising Maurice Pialat’s unsentimental depiction of childhood, their collaborator Maria von Hausswolff’s cinematography in Godland, and the ineffable magic of Michael Powell and Emeric Pressburger.
The award-winning actor, writer, and director shares his love for the hard-boiled voice-over in Blast of Silence, praises the exquisite acting and production design of Topsy-Turvy, and selects favorites by his frequent collaborators Joel and Ethan Coen.
The singer shares her love for The Bitter Tears of Petra von Kant and its decadent drama, praises Nicole Kidman’s hilariously psychotic performance in To Die For, and talks about the intimate dream state of Brand upon the Brain!
The acclaimed writer, director, and producer of About Dry Grasses talks about how seeing Ingmar Bergman’s The Silence changed his perception of cinema, praises the timeless and deceptively simple qualities of Stranger Than Paradise, and shares how Abbas Kiarostami gave...
The writer-director of So Much Tenderness and This Time Tomorrow shares her love for the magnetic monstrousness of Gene Tierney in Leave Her to Heaven, praises the visual grammar of Portrait of a Lady on Fire, and talks about “impossible...
The award-winning actor, best known for Todd Haynes’s May December, champions the twisted pleasure of Memories of Murder, selects favorites featuring his costar Julianne Moore, and talks about the subtle beauty of films like Drive My Car and After Life.
The philosopher names Trouble in Paradise “Ernst Lubitsch’s ultimate masterpiece,” praises Peter Weir’s early films, and calls the final scene of City Lights “the most sublime ending.”
The writer-director talks about the Yasujiro Ozu classic that inspired his film Little Men, the underrated work of Francesco Rosi, the golden age of repertory cinema in New York City, and a college course in which he studied Shoah for...
The influential cinematographer talks about films that informed his visual style, praises the complexity and simplicity of Yi Yi, and analyzes the opening sequence of Krzysztof Kieślowski’s Three Colors: Blue.
The acclaimed photographer and artist talks about bonding with his dad over films in the collection, praises the subtle power of Ozu’s framing, shares his connection to Garrett Bradley’s depiction of Black American life, and touches on his love for...