Category is “Film School in a Box,” and the House of Criterion earns 10s across the board.
This side of a flight to Barcelona, Criterion’s gorgeous release is the next best option to appreciate the Catalan architect’s work.
One of the greatest of American satires finally hits high-definition video with an okay transfer of an inferior source.
The most famous of Straub-Huillet’s works, Chronicle of Anna Magdalena Bach remains a singular approach to the musician biopic.
This is a more wallet-friendly option than Ingmar Bergman's Cinema to owning one of the director's finest early works.
Davies’s harrowing, beautiful diptych of childhood under and in the wake of tyrannical patriarchy receives a definitive release from Arrow.
Wilde’s directorial career is ripe for rediscovery. This pure, relentless yarn is a great place to start.
The filmmaker discusses the inherently cinematic quality of women, his fascination with the eyes of technology, and more.
The film unfolds simultaneously as thorny narrative and profoundly personal documentary.
The earthiest of Japanese New Wave directors, Shohei Imamura goes fascinatingly meta in A Man Vanishes.
The festival is a place for encountering first-time visions as well as catching up with established artists.
The Long Day Closes is both less dark and more radical than Terence Davies’s prior Distant Voices, Still Lives.
Suzuki’s stark, spastically existential crime-flick abstraction unfurls like the director’s cracked self-portrait.
Even if the film amounts to a gorgeous but lethargic emo ballad, there’s no denying the stately lyricism of its melancholy.
A solid pair of neo-noir obscurities personifies the anxious tenor of the 1970s while shedding intriguing light on the careers of their respective directors.
Despite flashes of punk rawness, Gibson’s winter-of-discontent musical drama can barely tap the glass, let alone break it.
The film is a frigid and oddly static procession of Hitchcockian shout-outs.