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Watch Now On The Criterion Channel

Aug 20, 2013 Satyajit Ray’s delicate masterpiece about forbidden love in the late nineteenth century is lovingly adapted from a novella by the great Rabindranath Tagore.

Jun 22, 2016 In honor of the semicentennial anniversary of Kartemquin Films, the influential documentarian discusses his groundbreaking, Kartemquin-produced 1994 film Hoop Dreams, what his work with the company has meant for him, and how Kartemquin has grown over the past fifty years.

Worlds Away

Features

Apr 21, 2021 First Person The first time I saw Terence Davies’s 1992 film The Long Day Closes, I was upended by a recurring image of the sensitive Liverpool lad at its heart, his arms folded across a worn window ledge as he...

Feb 18, 2008 Actor and writer Linda Sandoval met Alex Cox in 1983, when her husband, Miguel Sandoval, was cast in Repo Man (she recalls that Cox phoned to say he had good news and bad news: the bad news was that Miguel...

Jan 22, 2026 This visually stunning masterpiece from Kazakh New Wave iconoclast Ardak Amirkulov is one of the few films that looks evil in the eye without flinching.

All for an Idea

The Daily

Aug 2, 2024 Along with the new Senses of Cinema, we’re reading interviews with Michael Roemer, Claire Denis, and M. Night Shyamalan.

Jun 26, 2000 Kevin Smith writes about his third feature as a sort of penance/valentine for the woman who made him grow up.

Oct 4, 2013 This fascinating first contact between Roberto Rossellini and Ingrid Bergman kicked off one of cinema’s greatest—and most controversial—love affairs.

Aug 31, 2011 City symphony or spa burlesque? Polemic or caprice? From the outset, even in his manifesto lecture “Towards a Social Cinema,” delivered to the Groupement des Spectateurs d’Avant-Garde at Paris’s Le Vieux-Colombier before what was only the second public screening of À propos...

Oct 22, 2013 The disc of Faces that you now hold is the most beautiful copy possible of a film that was meant to look lousy. Digital technology painstakingly reproduces John Cassavetes’s lighting, which allowed his actors to move about freely, and so...

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