The Criterion Collection
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Feb 5, 2018 — This year marks the 200th anniversary of the publication of Mary Shelley’s Frankenstein; or, The Modern Prometheus, the occasion for Jill Lepore’s outstanding piece in this week’s New Yorker: Frankenstein is four stories in one: an allegory, a fable, an...
On the Channel
Jul 27, 2022 — Beat the heat with our extensive survey of Chinese representation in American film as well as tributes to Yaphet Kotto, David Gulpilil, and Myrna Loy.
On the Channel
Jan 28, 2021 — Channel Calendars We’re thrilled to be celebrating Black History Month on the Criterion Channel with a lineup that salutes African American filmmaking pioneers like Gordon Parks and Madeline Anderson, spotlights the brilliant career of actor and activist Ruby Dee, presents...
On the Channel
Nov 30, 2020 — Channel Calendars As the year draws to an end, we’re turning our gaze toward things to come, with an international, intergalactic program of Afrofuturist visions of Black creativity, resistance, and freedom. That’s just the beginning of our holiday bounty: we’ve...
Oct 20, 2020 — Despite the preponderance of tales of coming of age and sexual awakening in American independent cinema, it’s still rare to encounter a movie that deals with experiences of intimacy between young LGBT characters in a way that feels honest, candid,...
On the Channel
Sep 30, 2020 — Genre fans rejoice! October kicks off with a ’70s Horror series and the head-spinningly eclectic films of the New Korean Cinema.
Apr 25, 2011 — In 1981, the legendary critic went all out for Blow Out, which she thought was De Palma's most mature work to date.
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Jan 9, 2026 — The director of some of the bleakest films ever made once claimed all they were all comedies—except one.
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Sep 3, 2025 — Amanda Seyfried (The Testament of Ann Lee), Jesse Plemons and Emma Stone (Bugonia), and Dwyane Johnson (The Smashing Machine) dazzle in Venice.
Sep 24, 2024 — Emerging out of the mass death, cultural ferment, and semiotic tumult of the 1990s, this trio of deliriously profane films glares at American youth culture and gives zero shits if it looks back.