The Criterion Collection
The Daily
May 17, 2017 — Welcome to the first entry of the Daily at the Criterion Collection. For those of you who don’t know me, since 2003 I’ve been gathering links to essential—or simply fun—reading, news stories, and items of interest into a sort of...
May 8, 2017 — Writer Durga Chew-Bose explores her personal connection to Uma Das Gupta’s quietly captivating performance as a carefree young girl in the masterful opening installment of The Apu Trilogy.
Apr 27, 2017 — Blending irreverent comedy and surreal eroticism, Juzo Itami’s international hit is a utopian look at the peculiarities of gastronomic culture.
Production Notes
Apr 27, 2017 — 1. As I began work on The Kennedy Films of Robert Drew and Associates, I knew that 1960’s Primary was really the birth of what we think of as the modern documentary: observational photography based on access to an interesting subject, presenting...
Apr 21, 2017 — George Stevens’s Oscar-winning comedy captures the first sparks of attraction that ignited one of the great on- and offscreen romances in Hollywood history.
Apr 19, 2017 — Fresh off her successful collaboration with George Cukor on The Philadelphia Story, Katharine Hepburn secured her comeback after a brief career slump with George Stevens’s 1942 Woman of the Year. This clever battle-of-the-sexes comedy—which marked the actor’s first on-screen partnership...
Apr 17, 2017 — A group of Cuba’s most seasoned musicians became an international sensation upon the release of this acclaimed documentary portrait.
Features
Apr 2, 2017 — What defines noir acting? In her latest Dark Passages column, Imogen Sara Smith examines the stylistic variety in some of the genre’s most iconic male performances, including Burt Lancaster in The Killers and Ralph Meeker in Kiss Me Deadly.
Mar 29, 2017 — Film journalist Mark Harris stopped by Criterion to chat about the growing pains that five Hollywood filmmakers experienced during World War II.
Essays
Mar 24, 2017 — Capturing the cultural anxieties of the 1970s, Hal Ashby’s comedic parable explores the pitfalls of innocence and credulity in American politics.