Revisiting Miranda July’s Me and You and Everyone We Know taught me an important lesson: I really don’t like Me and You and Everyone We Know. I admire people who do, and the supplemental features are enriching for even those of us who think the movie has, uh, flaws, we’ll say gently.
I do, however, like Juraj Herz’s The Cremator, because it’s Czech but it feels French, and it’s dark, the black and white photography is beautiful, and, well, I’m a sucker for dark-as-pitch World War II stories.
You can read the full breakdown of April’s Criterion slate over at Paste Magzine.
A Constant Visual Feast 