The Criterion Collection
Sep 22, 2009 — Something very heavy happened at Monterey last weekend. Those very odd three days began in Friday’s cool gray air as the first of the crowd began to circle through the booths of the fairground. The only word for it then...
Essays
Nov 19, 2008 — Albert Lamorisse’s principled balancing of objective fact with childish wish fulfillment results in a new, paradoxical genre—the documentary of dreams.
Nov 19, 2007 — Ingmar Bergman made some outstanding films before Sawdust and Tinsel (1953). But that film, released in America under the meretricious title The Naked Night—and known in Sweden as The Clown’s Evening—was the first that no other director could have made....
Sep 3, 2007 — Aconversation, a misunderstanding. The basic pattern in many of Jim Jarmusch’s films is two characters, sometimes three, bound together by chance and wandering along toward an ill-defined goal, each trying all the while to get to know the other or...
Jan 31, 2005 — Like the movie’s rattletrap trucks lurching down the highway as they carry way-too-heavy loads, the characters in Jules Dassin’s brilliantly volatile Thieves’ Highway struggle under psychological and moral baggage until they can lay their burdens down. Working from a novel...
Dec 18, 2000 — Elegant humor cloaks despair in Luis Buñuel’s masterwork, wherein greedy characters flee their toxic lives and find refuge in the loneliness of dreams.
Jul 7, 2017 — Canadian-born filmmaker Alison Maclean emigrated to New Zealand as a teenager and later attended Elam Art School in Auckland. After making Kitchen Sink (1989), still arguably the most successful short film to come out of New Zealand, and her debut...
The Daily
Oct 28, 2025 — Selections from the independent Cannes sidebar will screen in New York and Los Angeles.
The Daily
Jul 16, 2025 — Opening in New York this week, the program is heading next to Austin, Seattle, Los Angeles, and Vancouver.
Apr 29, 2025 — A gritty look at New York City’s underground economy through the eyes of an immigrant street hustler, Sean Baker’s third feature film demonstrates his gift for combining hardscrabble social realism and mischievous humor.