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1-50 of 2,909
- Film scholar Peter Hames discusses the film Valerie and Her Week of Wonders (1970), its symbolism and influences, and its place in the Czech New Wave.
- Film critic Maitland McDonagh discusses the significant presence of real serial killers in American cinema, with some specific comments about major classics such as Fritz Lang's M and While the City Sleeps and Terrence Malick's Badlands, as well as the fictional character of Dr. Lecter and the unique identity he was given by Thomas Harris, and Anthony Hopkins and Mads Mikkelsen's take on the character in The Silence of the Lambs and Hannibal: The Complete Series.
- Joseph A. Gervasi and Greg Weeks discuss the process leading to the composition and performance of a new soundtrack for Valerie and Her Week of Wonders (1970).
- Documentary footage from the 1952 Olympic Games in Helsinki.
- An audio essay narrated by Greg Pflugfelder explaining the events surrounding a tuna-fish boat called 'Daigo fukuryu maru'. The event inspires the story of Godzilla.
- Nestor Almendros discusses his working relationship with director François Truffaut, including such films as L'enfant sauvage (1970) and Le dernier métro (1980).
- Joe Mantegna covers most of his working career with Mamet starting with their rather low key introduction. He mentions his work on the stage play of Glengarry Glen Ross (who ironically got the role after Al Pacino turned it down, Pacino of course going on to play the same role in the film version) and how his not getting the same part in the movie version of the play led to him getting the role of confidence man Mike Mancuso. He continues on with how Mamet works with a close circle of friends, always using the same people, and is proud of the fact that he was able to once convince Mamet to allow him to change one line of dialogue. He also gives an interesting analysis of his character. This segment is divided into four chapters.
- Film scholar Kristin Thompson, author of Herr Lubitsch Goes to Hollywood, describes how director Ernst Lubitsch uses reaction shots to humorous effect in Lubitsch's 1946 film, Cluny Brown.
- In this 2018 Criterion Collection program, screenwriter Jay Cocks and film critic Farran Smith Nehme discuss the adaptation for the film version of 'The Heiress' (1949) of the 1947 play by Ruth and Augustus Goetz, which was itself inspired by the 1880 Henry James novel 'Washington Square'.
- Director Jules Dassin discusses being blacklisted, and making 'Night and the City' in London.
- Sophia Loren discusses her longstanding friendship with Marcello Mastroianni and the making of A Special Day (1977).
- In this interview, recorded by the Criterion Collection in October 2011, Noël Coward expert Barry Day, author of "Coward on Film: The Cinema of Noël Coward", discusses "Brief Encounter" (1945).
- An interview with Irena Kovarova, Czech film programmer and expert, discussing the emergence of the Czechoslovak New Wave in the 1960s and the significance of director Jan Nemec's 1960 film Diamonds of the Night.
- This 2016 program features interviews with actors Rüdiger Vogler, Hanns Zischler, and Lisa Kreuzer discussing their work on Wim Wenders' 'Kings of the Road' (1976).
- Christian Petzold and Nina Hoss discuss their professional relationship, some of the key themes that have emerged in their films, the dilemmas Nelly faces in Phoenix, the very awkward reality in which the story is set, etc.
- This is a sort of documentary made by Vilgot Sjoman about Vilgot Sjoman as a sort of cinematic autobiography aired on Swedish television originally in 1992. It is included on the I Am Curious-Blue (1968) DVD released by The Criterion Collection in the USA.
- Cinematographer Hans Fromm discusses his longstanding working relationship with German director Christian Petzold and stylistic inspiration for the 2014 film 'Phoenix'.
- Documentary giving an extensive look into the design and development of the creatures created for artist Takashi Murakami's first feature film, Jellyfish Eyes.
- A new conversation between author Dave Eggers and the Coen Brothers about the production, from inception to release, of 'Blood Simple'.
- Screenwriter Norio Osada talks about writing the scripts for Lady Snowblood (1973) and its sequel Lady Snowblood 2: Love Song of Vengeance (1974).
- Documentary on Bob Fosse and his influence on dance.
- A close-up look at sand urchins and rock urchins. At the seashore, a man digs up a sand urchin. We look closely. He sets it back in the sand, and it burrows out of sight. Its intestines take nutrients out of sand. Using magnification 200,000 times normal size, we see a rock urchin's spines with suckers on the end; a drawing illustrates how they work. A sea urchin walks toward a rock. We see three-fingered jaws - pedicellaria at the end of flexible stems - take in algae and other bits. We also see cilia less than 0.001 ml in length; their motion constant, creating whirlpools. On the shore again, we watch the setting sun. Occasional titles in French tell us what to watch for.
- A complex creature. Regular underwater photography, magnified close-ups, and film through a microscope present sea urchins. We see their mouth and five teeth close and open. After injecting one with gelatin, the shell is removed and we see the muscle structure, digestive tube, and reproductive organs. Magnified stems reveal suction cups; stems lengthen and contract allowing the sea urchin to move. We see microscopic calcareous stems; at their ends are jaws with various uses. Cilia everywhere are in constant motion, stirring up water and debris. African music on the soundtrack suggests a shuffle dance.
- Dorothy West barges in on Walter Huston at his home, and against his wants, proceeds to conduct an interview with him about his private life, his career and his craft. The somewhat flippant answers he gives to her questions become a little more truthful as the interview progresses. But arguably the most interesting piece of information about Huston emerges after West has left, it associated indirectly with an earlier conversation he had with his agent on the telephone about not wanting to portray any more district attorneys.
- This interview with Ermanno Olmi and Tullio Kezich is about the making of Olmi's film I FIDANZATI.