The Criterion Collection
The Daily
Sep 17, 2017 — The Toronto International Film Festival has a single competitive program, Platform, now in its third year. This year, jurors Chen Kaige, Małgorzata Szumowska, and Wim Wenders have awarded the Toronto Platform Prize (25,000 Canadian dollars) to Warwick Thornton’s Sweet Country,...
On the Channel
Jun 12, 2024 — This summer, we’re bringing back one of our favorite seasonal themes with a hard-boiled Neonoir collection. Plus: Pop Shakespeare, Times Square, and Columbia Screwball.
On the Channel
Nov 13, 2023 — Channel Calendars This December, take your pick from the cinematic gifts under our tree! We’ve got a spotlight on indie queen Parker Posey, major retrospectives dedicated to the towering artists Yasujiro Ozu and Ousmane Sembène, offbeat portraits of the animal...
Features
Mar 11, 2020 — One Scene With his Oscar-nominated debut feature, Beasts of the Southern Wild, director Benh Zeitlin brought to the screen a vision of Louisiana that combined the unique flavors and textures of his adopted home state with the magical twists and...
Dec 5, 2012 — The following is excerpted from an interview that originally appeared in the February 1, 1981, issue of L’avant-scène: Cinéma. It was conducted by Olivier Eyquem and Jean-Claude Missiaen. Eyquem is a documentalist and former staff member at Positif; he blogs...
The Daily
Apr 14, 2026 — New films from Radu Jude, Clio Barnard, Lisandro Alonso, and Alain Cavalier are headed to Cannes.
The Daily
Jan 8, 2026 — We can look forward to new films by Ryusuke Hamaguchi, David Fincher, Greta Gerwig, Lee Chang-dong, Ulrike Ottinger, and many, many more.
The Daily
Mar 4, 2025 — The Melbourne Cinémathèque presents selections from the four phases of a profoundly influential oeuvre.
Nov 7, 2023 — By the end of the 1970s, everything had changed for Jackie Chan. He had cowritten, directed, and starred in The Fearless Hyena, which became the top-grossing Hong Kong film of 1979. His next project, The Young Master, would top that...
Nov 8, 2022 — In her first film that places a male character front and center, Jane Campion trains her unsparing gaze on the brutality of patriarchal power and the pain of repressed homoerotic desire.