"I have been collecting Criterion Collection DVDs almost as long as I have owned a DVD player,” writes Alex Ross Perry, the director of Impolex (2009), The Color Wheel (2011), and Listen Up Philip (2014). “These are not my top ten favorite films in the Criterion Collection but my top ten favorite Criterion Collection DVD purchases. This is virtually impossible. My entire apartment has pockets of Criterion DVDs everywhere, and I am forced to just go with my gut and pick ten that shaped my ideas of cinema, meant a lot to me, and I can’t imagine not owning and having access to whenever I desire"

"I have been collecting Criterion Collection DVDs almost as long as I have owned a DVD player,” writes Alex Ross Perry, the director of Impolex (2009), The Color Wheel (2011), and Listen Up Philip (2014). “These are not my top ten favorite films in the Criterion Collection but my top ten favorite Criterion Collection DVD purchases. This is virtually impossible. My entire apartment has pockets of Criterion DVDs everywhere, and I am forced to just go with my gut and pick ten that shaped my ideas of cinema, meant a lot to me, and I can’t imagine not owning and having access to whenever I desire"

"I have been collecting Criterion Collection DVDs almost as long as I have owned a DVD player,” writes Alex Ross Perry, the director of Impolex (2009), The Color Wheel (2011), and Listen Up Philip (2014). “These are not my top ten favorite films in the Criterion Collection but my top ten favorite Criterion Collection DVD purchases. This is virtually impossible. My entire apartment has pockets of Criterion DVDs everywhere, and I am forced to just go with my gut and pick ten that shaped my ideas of cinema, meant a lot to me, and I can’t imagine not owning and having access to whenever I desire"

"I have been collecting Criterion Collection DVDs almost as long as I have owned a DVD player,” writes Alex Ross Perry, the director of Impolex (2009), The Color Wheel (2011), and Listen Up Philip (2014). “These are not my top ten favorite films in the Criterion Collection but my top ten favorite Criterion Collection DVD purchases. This is virtually impossible. My entire apartment has pockets of Criterion DVDs everywhere, and I am forced to just go with my gut and pick ten that shaped my ideas of cinema, meant a lot to me, and I can’t imagine not owning and having access to whenever I desire"

"Luchino Visconti never made a mediocre film and his masterpieces reach the heights of cinema. The Damned, at once illustrious and a little forgotten, is definitely one of his greatest and most misunderstood. This strange mash-up of Buddenbrooks and Macbeth is a film noir, deranged and of a profound audacity in its treatment of what burned at the heart of Weimar Germany and the era’s capitalist system. Of an incredible originality and daring for the industry of the time, it paved the way for the entirety of Fassbinder's work and without it Pasolini's Salò (which was heavily inspired by this film) would have been impossible."

"I love both equally. In Pierrot le fou it was the garish colors, footloose narrative, and moments of total ennui where nothing happens and Anna Karina suddenly breaks into song for no good reason. In Vivre sa vie it was the black-and-white photography, the off-center, often flat and seemingly accidental compositions, and the unexpected camera tracks. I loved the intimate connection between the camera and the actress, and the narrative jumps and philosophical digressions. It all gave you the sense that cinema is jazz and anything goes, as long as you get back into the beat and the key at the right time."

"I love both equally. In Pierrot le fou it was the garish colors, footloose narrative, and moments of total ennui where nothing happens and Anna Karina suddenly breaks into song for no good reason. In Vivre sa vie it was the black-and-white photography, the off-center, often flat and seemingly accidental compositions, and the unexpected camera tracks. I loved the intimate connection between the camera and the actress, and the narrative jumps and philosophical digressions. It all gave you the sense that cinema is jazz and anything goes, as long as you get back into the beat and the key at the right time."