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May 29, 2015 — The New York–born–and–raised directors Josh and Benny Safdie’s films have earned them awards from around the world, including FIPRESCI prizes and Independent Spirit and Gotham awards. Their feature films include The Pleasure of Being Robbed (2008), Daddy Longlegs (2009), Lenny...

Dec 18, 2013 — South Korean filmmaker Bong Joon-ho is the director of The Host (2006), Mother (2009), and Snowpiercer (2013). We interviewed him for our release of the classic South Korean film The Housemaid, available in the World Cinema Project box set. After...

Feb 24, 2012 — The writer reflects on the decades-long creative collaboration and friendship between his father, playwright and television writer Elihu Winer, and John Voelker, judge and author.

May 19, 2011 — About selecting his favorites from the collection, world-class cinematographer John Bailey (Mishima: A Life in Four Chapters) says, “One of the greatest challenges in trying to compile a list like this is to separate the objectively ‘great’ films from the...

Apr 11, 2011 — I believe in my world. I believe in brotherhood and everything that goes with it. Like honor, loyalty, and friendship. The reason why Le cercle rouge is a classic gangster film is because it embodies this kind of romanticism. For...

Jun 17, 2010 — Prolific Hong Kong filmmaker Johnnie To has directed more than forty films, including Election, Exiled, and Mad Detective. His latest, Vengeance, is currently in some North American theaters, from IFC Films.

Nov 20, 2008 — We asked director Rian Johnson, whose “high school noir” Brick was one of the most acclaimed films of 2006, what his favorite Criterion releases were. Johnson wrote to us: “I'm a huge Criterion fan. My first exposure to many of...

Apr 26, 1999 — At some point in their lives, probably every sleepless person has switched on the TV in the wee hours of a weekend morning and chanced upon a fishing show. Invariably, a beefy, half-forgotten retired athlete shares a boat with some...

Sep 2, 1993 — Capturing for posterity the portrayal that brought Paul Robeson fame, this film was a turning point—the culmination of his early career and a groundbreaking showcase for the work of a black leading man.

A sui generis icon of counterculture cinema and style, John Waters upends traditional notions of “good taste” and heteronormative social conventions with a gleefully transgressive mix of camp humor, outrageous provocation, and daring empathy.