The Criterion Collection
The Daily
Apr 9, 2018 — “Most famous for the exquisite 1979 family classic The Black Stallion, and, to a slightly lesser extent, 1996’s Jeff Daniels and Anna Paquin-starring drama Far Away Home, [Carroll] Ballard is—despite making only six films in a period of almost forty...
The Daily
Mar 28, 2018 — “Forty-seven years young,” writes the staff at Slant, “New Directors/New Films—programmed by the Film Society of Lincoln Center and the Museum of Modern Art—is an eclectic, geographically far-flung survey of bourgeoning filmmaking talent, and more than ever, this year’s lineup...
Mar 16, 2018 — Martin Scorsese talks with critic Kent Jones about some of the techniques that helped bring the film’s depiction of Gilded Age Manhattan to life.
The Daily
Mar 3, 2018 — So this is the weekend that finally brings awards season to an end. The Film Independent Spirit Awards will be presented tonight (and here’s an overview of the nominations), and tomorrow’s the Big Night (again, the nominations). The one piece...
Oct 3, 2017 — In the print edition of the current issue of Film Comment, we find Luca Guadagnino saying that “the true generator of the movies I try to make is Jean Renoir, and A Day in the Country is really the alpha...
Essays
Nov 22, 2016 — The result of a notoriously troubled production, Marlon Brando’s unorthodox western presents a brooding vision of human futility.
Features
Jan 5, 2016 — The late Haskell Wexler wore many hats—he was an independent, impassioned documentarian; a commercial Hollywood cinematographer; a political and social activist; an institutional (even union) contrarian. He was also an exemplar of how to live.
Jun 1, 2015 — A legionnaire turned fruit seller misses out on Germany’s economic miracle in Rainer Werner Fassbinder’s breakthrough melodrama.
Apr 14, 2015 — Preston Sturges revealed a lot about himself and the movie business in this hilarious and socially committed comedy.
Essays
Dec 10, 2014 — Social satire, women’s melodrama, queer metaphor, or horror movie? Todd Haynes’s elusive masterpiece is all of these and none of them.