Lost in Criterion

Charles Kiselyak's video eulogy to John Cassavettes is overly long, but endlessly fascinating. Except he talks to Sean Penn too much.

Gena Rowlands gives another brilliant performance in another brilliant Cassavetes film.

...but the first one was also the director's cut?

Continuing Cassavetes with an emotional gut-punch like nothing else.

When improvisation is done right it feels real, not just loose.

Shadows is a fascinating start to the career of indie auteur John Cassavetes.

In which we suggest that Lost in Criterion should restructure and discuss the Criterion films through the lens of always critiquing US foreign policy.

Cronenberg's Videodrome is probably his most straightforward film philosophically, which is saying something.

Slacker has so much that should work, but it coalesces into something perfect.

Federico Fellini cannot make a movie that is not about himself. This is not a problem, but we will still mock him for it.

Possibly the first movie to be called a Film Noir by critics at the time, Port of Shadows hits a lot of the notes we expect from the genre.

We explore Pat's face-blindness like never before!

The story of a producer who doesn't want you to have sex with him in order to get famous, but definitely as a thank you for making you famous.

We jump a decade into Renoir's future, on the other side of his Hollywood period, for the first in a trilogy of films about theater.

We're slowly working our way backwords through the Noriko trilogy and it's amazing.