David and Trevor discuss LOVE LETTER and THE MOON HAS RISEN, the first of three episodes reviewing KINUYO TANAKA DIRECTS, new from the Eclipse Series from the Criterion Collection.
David and Trevor discuss LOVE LETTER and THE MOON HAS RISEN, the first of three episodes reviewing KINUYO TANAKA DIRECTS, new from the Eclipse Series from the Criterion Collection.
An in-depth conversation about director John Singleton, the subject of Criterion's new Hood Trilogy box set.
David, Trevor and guest William Remmers wrap up their coverage of the set to talk about THE SMILING LIEUTENANT and ONE HOUR WITH YOU.
David and Trevor are joined by William Remmers to discuss THE LOVE PARADE and MONTE CARLO, the first two films in this reissued set of classic Pre-Code musical comedies.
David and Trevor wrap up their coverage with a conversation about six "school films" shot between 1975 and 1989.
Aaron West's upcoming book covers the rise of A24 from its first releases in 2012 up to the beginning of the COVID-19 pandemic in early 2020.
David and Trevor discuss five films shot between 1978-1984 that offer Kiarostami's insight and indirect critique of Iranian politics and culture.
For February, the Channel will feature films from Mervyn LeRoy, Héctor Babenco, John Woo, and more!
Ira Sach's latest will stream later this month.
David catches up with the always-moving fleet-footed Antoine Doinel.
John Waters' second feature, with a Criterion Collection release pending, gets a new restoration from Janus. And it's just as startling a film today as it was nearly 50 years ago.
As far as debut films go, 2016 will be hard pressed to give us a more interesting one than Clement Cogitore's haunting thriller.
Vertov's newly-restored masterpiece is accompanied by four other very fine works.
Ryan and Brian catch up on the week's news and new releases.
In which Arik Devens and Christa Mrgan discuss the symphony of the absurd
Susan Seidelman's masterpiece is newly restored thanks to Shout Factory and starts a one week run at Metrograph this Friday.
One of the year's more obtuse indie films is also one of its most beautiful.
One of the year's best home video releases is also, without a doubt, its most culturally and sociologically important.
I'm just kidding, I love fan edits









