The Criterion Collection
Apr 17, 2012 — When it was first released in 1977, ¡Alambrista! depicted something previously unseen in American fiction films—the lives of undocumented Mexican immigrants from their point of view. Though writer-director-cinematographer Robert M. Young was not Latino and didn’t speak Spanish, his film convincingly...
May 8, 2018 — Horror movies are often understood as products of the imagination, but in the case of Caroline Monnet and Daniel Watchorn’s work, the conventions of the genre are grounded in stories of real-life injustice. Set in a Canadian residential school for...
Essays
Feb 18, 2025 — In her mainstream breakthrough, director Joan Micklin Silver envisions New York City through the eyes of a complicated, searching woman trying to figure out her place in the world.
On the Channel
Dec 28, 2022 — We’re getting real in January with a spotlight on cinema verité, a movement that revolutionized documentary filmmaking.
Features
Aug 10, 2023 — “You’re the company I waited so long for,” Dr. Rosetta Stone (Tilda Swinton) says to her three Self Replicating Automatons in Teknolust (2002), artist Lynn Hershman Leeson’s sci-fi farce about a scientist’s well-meaning pursuit of artificial life. Stone’s color-coded clones...
Feb 28, 2023 — One of the towering figures of postwar French literature, Marguerite Duras was also an innovative filmmaker whose rarefied cinematic style dared audiences to see less and listen more.
Nov 3, 2009 — If ever there was a European art film that could be all things to all people, it’s Wim Wenders’s 1987 masterpiece.
Nov 18, 2025 — Though the first two decades of the Iranian filmmaker’s career have long been underappreciated, this fertile period yielded philosophical and restlessly innovative works that reinvigorated both documentary and narrative-fiction cinema.
The Daily
Sep 16, 2021 — As the Viennale prepares a retrospective, Toronto premieres what Davies calls “the best film I’ve made.”
Essays
Aug 28, 2000 — In what is arguably his most popular and enduring feature, W. C. Fields nails the American tendency to inflate one’s importance.