The Criterion Collection
The Daily
Dec 14, 2017 — Emotion Pictures: International Melodrama is a sixty-two film series now running at the Film Society of Lincoln Center in New York through January 7. “Sam Fuller famously defined cinema as ‘emotion,’ and just about every variety of it may be...
The Daily
Dec 12, 2017 — “Evil is ascendant,” begins Manohla Dargis in the New York Times. “The Resistance—an intrepid, multi-everything group whose leaders include a battle-tested woman warrior—has been fighting the good fight for years but is outnumbered and occasionally outmaneuvered. Yes, the latest Star...
On the Channel
Oct 20, 2017 — The Oscar-nominated director of The Right Stuff talks about some of his formative cinematic experiences in the latest episode of Adventures in Moviegoing.
On the Channel
Jun 26, 2017 — The Pulitzer Prize–winning author of Interpreter of Maladies speaks about her deeply personal connection to Indian cinema in this Criterion Channel exclusive interview.
Apr 10, 2017 — In this 1964 television interview, Jacques Demy defends his use of wall-to-wall singing and Michel Legrand takes to the piano for a few bars from one of his most famous compositions.
On the Channel
Mar 27, 2017 — A master of rib-tickling dialogue and an innovator of dazzling narrative techniques, playwright-turned-filmmaker Sacha Guitry has long been revered by French movie lovers as an indispensable figure in the nation’s cinematic heritage, but his work has never received the level...
Features
Jun 4, 2015 — Rainer Werner Fassbinder stocked the cast of The Merchant of Four Seasons with friends and colleagues from his experimental theater days.
Essays
Mar 30, 2015 — The astonishing intimacy and scope of this remarkable, aesthetically captivating epic ushered in a new era of narrative documentary filmmaking.
Essays
Sep 26, 2011 — No preconceptions. No rehearsals. No rules. Assayas's on-the-fly bio is exhilaratingly all over the map.
May 26, 2008 — Though producer Alexander Korda’s adventure movie forms part of a continued tradition of representing the East by purposefully occluding the reality of it, it celebrates the Arabian fantasy as a site of childlike wonder.