The Criterion Collection
The Daily
Jan 21, 2026 — New films by Angela Schanelec, Lance Hammer, and Mahamat-Saleh Haroun will premiere in the competition.
Sep 12, 2016 — During a research mission to Spain, Criterion web producer/researcher Valeria Rotella takes a day trip to the medieval desert town of Chinchón, where Orson Welles is rumored to have shot Chimes at Midnight and The Immortal Story.
Feb 1, 2022 — Douglas Sirk’s 1956 masterpiece is a visceral tragedy that lays bare the spiritual malaise of the ruling class.
Essays
Jun 17, 2018 — The stakes are high. An unknown entertainer newly arrived in a foreign country prepares for her first performance, under pressure to make a hit with a restless, rowdy audience. It is a hot night; the crowd exudes a collective humidity,...
May 26, 2026 — Women’s hands dance over typewriter keys. The percussive racket they make, like the tapping of an unruly chorus line, takes the place of music during the opening credits of The Office Wife (1930), which appear over a montage of female...
Aug 22, 2024 — This year, Bologna’s annual feast of restorations and rediscoveries showcased one of the most ambitious masterpieces of the silent era, the melodramas of Japanese filmmaker Kozaburo Yoshimura, and other treasures of film history.
Oct 9, 2020 — In Scoundrels & Spitballers: Writers and Hollywood in the 1930s, veteran French journalist Philippe Garnier brings to life an enchantingly raffish community of typewriter-pounders who headed west to try their luck in the verbal gold rush set off by the...
Interviews
Feb 2, 2011 — This interview was published in the winter 2010 issue of Brick, a literary journal based in Toronto. It is posted here by permission of the Toronto International Film Festival. The photograph appears courtesy of Colleen Murphy. We met on March...
Jul 20, 2022 — A brutal critique of the American dream, Carl Franklin’s 1995 thriller explicitly confronts the racialized implications of classic film noir.
Jul 13, 2022 — Martin Scorsese’s long-gestating boxing opus—one of the last films on which he enjoyed unequivocal studio support—emerged from a Hollywood in transition.