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Heads-up: My Criterion is going offline temporarily at the end of the month. We’ll let you know when it comes back, new and improved, later this year.
Showing posts with label The Criterion Current. Show all posts
Showing posts with label The Criterion Current. Show all posts
Tuesday, 24 April 2018
Monday, 23 April 2018
Sofia Coppola adapts Jeffrey Eugenides’s acclaimed novel with an impressionistic style that evokes the private melancholy of female adolescence.
Sunday, 22 April 2018
We’re going to be doing a little renovating around here, so this will be the last Daily post for about a week or so. It’ll be worth the wait. You’ll see. In the meantime, let’s have a quick look at the week ahead, then remember Nelson Pereira . . .
[The Daily] Art of the Real 2018
This year’s Art of the Real, the fifth, running from Thursday through May 6 and co-presented by MUBI and the Film Society of Lincoln Center in New York, “offers a survey of the most vital and innovative voices in nonfiction and hybrid . . .
Saturday, 21 April 2018
[The Daily] Varda, Bazin, and More
Let’s catch up with the new issue of cléo journal, this one dedicated entirely to the work of Agnès Varda. When the journal launched five years ago, it took its name from Varda’s 1962 classic, Cléo from 5 to 7. “While Varda films with a style . . .
Earlier this year, Jim Jarmusch dug up original footage of Neil Young recording the score for Dead Man, which we used to create a program on our new release.
Friday, 20 April 2018
This month, two sparkling comedies head to the United Kingdom in their Criterion editions: The Awful Truth, Leo McCarey’s 1937 Oscar-winning screwball classic, and Edouard Molinaro’s subversive 1978 farce La Cage aux Folles. Head over to 
In Satyajit Ray’s psychologically rich character study The Hero, Bengali film star Uttam Kumar draws on his real-world celebrity to play Arindam Mukherjee, a matinee idol on the brink of his first flop. When Mukherjee boards an overnight train . . .
[The Daily] Goings On: Trnka, Haroun, and More
“Jiri Trnka didn’t craft his puppet-cartoon shorts and features merely to imitate life,” writes Michael Sragow for Film Comment. “His endlessly original and inventive movies incorporate life, or transcend it. Trnka insisted that he was ‘local,’ . . .
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