The Criterion Collection
Features
Apr 10, 2017 — An exhibition at New York’s Museum of the Moving Image explores Martin Scorsese’s creative process, his deep personal connection to his films, and his lifelong cinephilia.
Essays
Mar 28, 2017 — In his first English-language feature, Michelangelo Antonioni examines the elusiveness of the real through the lens of a murder mystery.
Feb 3, 2017 — Over on the Criterion Channel, for Super Bowl weekend, we’re showing the first football movie ever made, Harold Lloyd’s crackerjack comedy The Freshman (1925), and the first rugby-football movie ever made, Lindsay Anderson’s heart-pounding drama This Sporting Life (1963). And...
In Theaters
Feb 2, 2017 — Repertory Picks This Friday, the Dairy Arts Center in Boulder, Colorado, will screen Hal Ashby’s 1971 sophomore feature Harold and Maude. Made just one year after Ashby transitioned from editing to directing with his Brooklyn-set gentrification drama The Landlord, the...
Feb 2, 2017 — In her just-released Sundance hit The Lure, Agnieszka Smoczyńska evokes both the decadence and decrepitude of 1980s Poland through the adventures of Silver and Gold, two man-eating mermaid sisters who decide to go terrestrial and soon become a nightclub singing...
Jan 31, 2017 — Brooklyn-based director Tim Sutton stopped by for a visit and sat down to chat about the films that have inspired his work and the importance of maintaining an outsider’s point of view.
Dec 21, 2016 — Garrett Brown in our kitchen reenacting a Steadicam-shot scene from Blow Out In 1975, the cameraman Garrett Brown revolutionized filmmaking technology with the Steadicam, an invention that brought together the agility and immediacy of a handheld camera with the smoothness and...
Essays
Dec 14, 2016 — Pseudodocumentary collides with pure fantasy in Federico Fellini’s intricately layered portrait of his adopted home.
Dec 6, 2016 — This elegiac meditation on impermanence showcases Laurie Anderson’s playfully experimental approach to sound and image.
Oct 5, 2016 — Rock critic Robert Christgau examines the evocative use of three early Leonard Cohen songs in Robert Altman’s brilliant revisionist western.