The Criterion Collection
There is a particular pleasure that’s rare, and almost illicit, in watching something survive its own century and come back looking better than you remembered
March 25, 2026
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There is a particular pleasure that’s rare, and almost illicit, in watching something survive its own century and come back looking better than you remembered
In the annals of American independent cinema, few films have the improbable origin story, and the quiet gravitational pull of Charles Burnett’s Killer of Sheep.
In the end, The Fantastic Mr. Fox is not merely an adaptation but a kind of artistic convergence. It’s a meeting of Dahl’s mischievous imagination
Bresson was a man allergic to frills, whether it be cinematic, emotional, decorative, or otherwise. So when, in 1959, he wrote his first original screenplay
Almodóvar, of course, has never been in the business of quaint. His films arrive lacquered in bright colors and moral ambiguity, populated by characters who
In the end, Sundays and Cybele remains a masterwork of emotional subtlety. It’s a tragic, beautiful tale of innocence, loneliness, and the ways broken people
The Umbrellas of Cherbourg is one of those rare films that sings every single line; and still manages to sneak up and wallop you right
Few films in recent memory capture the volatility of love, money, and identity with the unflinching tenderness of Anora, Sean Baker’s incandescent latest. Already hailed
By the time Saint Omer reaches its haunting final moments, Alice Diop’s debut narrative feature has already plunged us into the deepest, most uncomfortable corners
Scarface (1932) has long been a touchstone of the gangster genre, and watching it today, its influence on later works is undeniable. Most notably, Brian
It begins, as all great philosophical crises do, with a question. Not “What is the meaning of life?” That one’s been overcooked, but the more
