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The Hit

Dec 2, 2008 Starting today, Federico Fellini’s enduring autobiographical Amarcord is back on the big screen, in a newly restored print from Janus Films, supervised by director of photography Giuseppe Rotunno. After a two-week run at New York’s Film Forum, Fellini’s colorful portrait...

May 16, 2012 Chuck Klosterman is the author of seven books (most recently, The Visible Man and Eating the Dinosaur) and serves as an accidental narrator of the LCD Soundsystem documentary Shut Up and Play the Hits. Of compiling this list, Klosterman says,...

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Production Notes

Jun 19, 2007 One of the blessings (and curses) of working at Criterion is that every film we put out inspires a passionate response from someone, somewhere. Knowing how deeply people feel about a movie as I’m producing the DVD leads to some...

Nov 16, 2006 At the Museum of the Moving Image tonight, Peter Cowie is presenting his new book on Louise Brooks, Lulu Forever, and they are digitally screening our new Pandora's Box restoration with the Gillian Anderson score. I don’t think I’ve ever...

The trailblazing director of A Dry White Season reminisces about her childhood love of Hitchcock, the kindness that François Truffaut showed her, and a Brazilian classic that changed her life.

Lesley Brill is the author of The Hitchcock Romance (Princeton, 1988) and John Huston's Filmmaking (Cambridge, 1997). He teaches film studies at Wayne State University, Detroit.

Feb 12, 2018 Mexican filmmaker Guillermo del Toro shares heartfelt appreciations for eleven of his favorite films in the collection.

Jul 17, 2025 Among this month’s highlights are a spotlight on ’90s soundtracks, a celebration of Hong Kong icon Sammo Hung, and a retrospective of the work of Spanish auteur Bigas Luna.

Nov 28, 2022 We’re closing out the year with a gift bag full of screwball comedy favorites, a wagon train of wintry westerns, and a World Cup–ready team of eclectic football movies.

Sep 28, 2022 A long-obscure landmark of the Iranian New Wave, Mohammad Reza Aslani’s daringly ambiguous portrait of feudalism’s demise mirrors the revolutionary times in which it was made.

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