The Criterion Collection
The writer and director talks about the impact that Vittorio De Sica’s Bicycle Thieves has had on his life and how seeing it for the first time revealed the kind of cinema he wanted to amke himself.
The writer and director of Magellan praises the use of silence and space in Le samouraï, talks about how Mike Leigh and Kenji Mizoguchi explore the human condition in their films, and selects his good friend Béla Tarr's Werckmeister Harmonies.
The actor shares his love for Stranger Than Paradise and Dekalog, talks about being both freaked out and deeply moved by The Tin Drum, and praises Richard E. Grant’s performance in Withnail and I as one of the best of...
The CEO and chairman of Sony Pictures Motion Picture Group fondly reminisces about working with Jim Jarmusch early in his career, shares why Harlan County USA remains one of the most important documentaries of all time, and celebrates the independent...
A groundbreaking visual stylist, this iconic American director has captivated generations of film lovers with his meticulously crafted epics about war, violence, and history.
This native of Houston, Texas, has influenced countless young independent filmmakers with his authentic portraits of adolescence and romantic discovery.
The writer and director talks about how Girlfight reflects the vibrant spirit of director Karyn Kusama, praises Topsy-Turvy as his favorite Mike Leigh film, and takes home Hell’s Angels to watch with his wife, Hollywood historian Karina Longworth.
The writer and director praises Charles Burnett's portraits of families, talks about his meaningful connection to The Gospel According to Matthew, and shares his experience having Stan Brakhage as a professor.
The actor and director praises Black God, White Devil as one of the most important Brazilian films ever made, talks about the complex humanity of Il Posto, and reflects on why Jean-Pierre and Luc Dardenne are his favorite filmmakers.
The filmmaker and artist shares his intimate connection to The Color of Pomegranates, talks about the “invisible magic” of Edward Yang’s cinema, and praises the innovative cinematography in Tokyo Olympiad.