9 Great Criterion Movies Recommended by Guillermo del Toro

21 hours ago 1

Guillermo Del Toro as El Toro in a suit, sits and holds a hat in Barry.

Anja Djuricic was born in Belgrade, Serbia, in 1992. Her first interest in film started very early, as she learned to speak English by watching Disney animated movies (and many, many reruns). Anja soon became inspired to learn more foreign languages to understand more movies, so she entered the Japanese language and literature Bachelor Studies at the University of Belgrade.

Anja is also one of the founders of the DJ duo Vazda Garant, specializing in underground electronic music influenced by various electronic genres.

Anja loves to do puzzles in her spare time, pet cats wherever she meets them, and play The Sims. Anja's Letterboxd four includes Memories of Murder, Parasite, Nope, and The Road to El Dorado.

Guillermo del Toro stepped into the Criterion Closet once again during the Toronto International Film Festival (TIFF). We say "once again" because del Toro was actually the first ever guest of the famous Criterion Closet series where famous people go into their DVD collection, pick their favorite films, and talk about them.

In 2010, del Toro picked some of the same movies during his selection at TIFF, most notably, The Red Shoes by Michael Powell and Emeric Pressburger. If you're interested in the updated version and more of his favorites, here are the great movies recommended by Guillermo del Toro at the Criterion Closet.

1 'All That Heaven Allows' (1955)

Ron and Cary lying together in in All That Heaven Allows.

Douglas Sirk's melodrama, All That Heaven Allows, is both a classic romance and a critique of 1950s conformity, consumerism, and social hypocrisy. Although initially dismissed by some critics as soapy, it has since been re-evaluated, and is now considered a masterpiece of visual storytelling and one of the best romantic movies of all time. The film's lush colors, precise framing, and the use of mirrors and windows heighten the feelings of being trapped and harboring strong desire. In the video, del Toro mentions that he designed Nightmare Alley in the same way All That Heaven Allows, by using the same setups and lighting that would make the film work in both color and black-and-white imagery.

All That Heaven Allows follows the widow Cary Scott (Jane Wyman), who falls in love with her younger gardener, Ron Kirby (Rock Hudson). Cary and Ron's whirlwind romance defies everything their rigid society imposes, especially when it comes to appearances. Sirk's signature visual language deepens the message, like deep-focus frames, tense color contrasts, and a mixture of interior and exterior spaces. These visual cues emphasize the emotional and psychological tension Cary goes through as she struggles to balance her desires with the expectations of others. All That Heaven Allows examines the cost of social conformity, but also the cost of having courage to pursue personal fulfillment.

2 'Salesman' (1969)

A man talks on a landline phone in a hotel room in Salesman.

Salesman is an exemplary observational documentary, and it chronicles the lives and motivations of door-to-door Bible salesmen. With del Toro's recommendation, he calls Salesman one of the greatest documentaries "about the working man and the patois of the time," and recommends watching it with some whiskey on the rocks and as a double feature with Glengarry Glen Ross. This direct cinema documentary influenced decades of nonfiction filmmaking through its inconspicuous camera work, brilliant editing, and deep empathy for the human struggle. It's definitely less globally famous than some more major documentaries and narrative films, but its impact on documentary practice is undeniable.

Salesman follows a group of traveling salesmen, though it focuses on one for the most part, capturing the emotional, moral, and economic pressures of a job that carries numerous rejections day to day. The directors, brothers Albert and David Maysles, took an observational approach, allowing audiences to experience the consequences of human ambition and despair firsthand. Of course, balancing professional obligation with personal ethics gives the film some dramatic weight, while the portrayal of everyday American life turns a seemingly narrow subject into a meditation on work, aspiration, and the human condition, making Salesman an essential reference point in documentary history.

3 'The Age of Innocence' (1993)

Martin Scorsese's The Age of Innocence is an adaptation of Edith Wharton’s novel, and it's a visually stunning exploration of repression, desire, and social constraint in Gilded Age New York. As del Toro speaks about it, he says that the restraint that The Age of Innocence carries is just as much of a filmmaking exercise—it matters what you show, but sometimes even more what you don't. He mentions using The Age of Innocence as an inspiration for both Frankenstein and Crimson Peak. The Age of Innocence stands as one of Scorsese's most elegant and restrained works, even if it's less known than his other, more prominent works.

The Age of Innocence follows Newland Archer (Daniel Day-Lewis), a young lawyer navigating the upper-class Manhattan society in the 19th century. He is engaged to the compliant May (Winona Ryder), but when he meets her "scandalous" cousin, Ellen (Michelle Pfeiffer), he discovers a hidden passion and a desire for a less rigid lifestyle; the film shows how social codes dictate personal behavior, desire, ambition, and moral choices. Cinematographer Michael Ballhaus and Scorsese use color, framing, and period detail to convey the tension between everyone's public and private lives. Ultimately, the film is a study in emotional restraint, and pretty much an education in filmmaking that feels rich and yet subdued.

4 'Notorious' (1946)

A man looks at a woman as she looks up, lying in bed together in Notorious.

One of Alfred Hitchcock's greatest masterpieces is undoubtedly Notorious, an espionage romance drama that combines psychological tension and daring cinematic techniques. When del Toro talks about it, he mentions how precise Notorious, as well as some of other Hitchcock's films really are; he recalls a conversation with Kim Novak, who told him Hitchcock had a metronome, specific desires for an outfit, movements, and body language. Notorious, in particular, remains a reference point in studies of narrative control, which is what del Toro seems to be most in awe of in this film. Indeed, while it may not be all too famous compared to, say, Vertigo or Rear Window, it's a beautiful example of Hitchcock's genius at work.

Notorious follows Alicia Huberman (Ingrid Bergman), an American daughter of a convicted Nazi spy, who is recruited by U.S. agent T.R. Devlin (Cary Grant) to infiltrate a Nazi network in Brazil. As she enters the dangerous assignments and manipulations orchestrated by Devlin, a romantic relationship develops, and they're no longer just professionals working together. Hitchcock uses some pretty inventive cinematography here, like long takes and suggestive close-ups, to increase the intensity of the situations and emotions. Notorious is both an elegant spy thriller and an intense exploration of trust, loyalty, and vulnerability under great pressure.

5 'Black Narcissus' (1947)

A nun on a high ledge in Black Narcissus.

Michael Powell and Emeric Pressburger seem to be del Toro's favorite filmmaking duo, as he recommends two of their greatest films, naming them his favorites. One, as already mentioned, is The Red Shoes; the other, a landmark in British cinema, is Black Narcissus. This gorgeous film is often lauded and taken as exemplary for its visual inventiveness and use of color to emphasize psychological depth and mental states. Its expressionistic sets and lighting create an atmosphere of tension and repression, influencing later filmmakers in horror, psychological drama, and visual storytelling.

Black Narcissus follows a group of Anglican nuns who establish a convent in a remote Himalayan palace. Sister Clodagh (Deborah Kerr) struggles with her duties as her suppressed emotions surface and affect the community, too, culminating in tensions that threaten the nuns' faith and sanity. Technicolor cinematography is out of this world in Black Narcissus, and it enhances the emotional intensity of Sister Clodagh's story. Using gorgeous architecture and landscapes, set extensions and paintings, the film examines repression, forbidden desire, and the struggle for self-understanding and identity. Its innovative aesthetic and psychological sophistication mark it as crucial for cinema in the 20th century, and in general.

6 'Au Revoir Les Enfants' (1987)

Two young boys wear matching outfits and walk through the woods in Au Revoir les Enfants.

Au Revoir Les Enfants, or Goodbye Children, is a deeply personal, critically acclaimed WWII drama by Louis Malle. In the final moments of his Criterion Closet picks, del Toro pulls out this movie, praises it greatly, saying he'd seen it several times, and that it was an inspiration for his widely acclaimed film, The Devil's Backbone. There are some similarities to it, though del Toro takes a more fantastical approach to many of his stories. Au Revoir Les Enfants is praised for how well it depicts emotionally resonant themes and moral dilemmas; considering it is autobiographical, the intensity of Au Revoir Les Enfants hits really hard. It's a moving depiction of childhood innocence amid terrifying historical events.

Au Revoir Les Enfants is set in a Catholic boarding school in Nazi-occupied France, and follows Julien (Gaspard Manesse), who befriends the new student, Jean (Raphaël Fejtö). The school's headmaster, Père Jean (Philippe Morier-Genoud), secretly hides Jewish children in his school during the war, and as it turns out, Jean is one of them. Malle draws from personal experience, blending a child's perspective with the weight of adult moral decisions; themes of friendship and loyalty are woven together with fear and betrayal. Combining this with sparse dialogue and naturalistic performances, we go through emotionally devastating moments that the protagonist—based on Malle—claims he'll never, ever forget. It's very likely that anyone who's seen Au Revoir Les Enfants feels the same way about the film.

7 'The Red Shoes' (1948)

Another movie by Michael Powell and Emeric Pressburger, The Red Shoes, is the first movie del Toro grabs while in the Criterion Closet, saying it's a feature he has to talk about. Like with Black Narcissus, he emphasizes the use of color to tell a story and drive the emotional themes forward. The Red Shoes is a brilliant representative of the fusion of music, dance, and cinema, and it's widely regarded as one of the most influential films of the 20th century, inspiring generations of filmmakers—including del Toro. Its synthesis of visual spectacle and psychological drama is still unmatched.

The Red Shoes follows Victoria Page (Moira Shearer), a young ballerina who joins Boris Lermontov's (Anton Walbrook) prestigious company while falling in love with composer Julian Craster (Marius Goring). Torn between her love of art and Julian, Victoria's inner conflict climaxes in a 15-minute ballet sequence that blends fantasy with obsession. Powell and Pressburger combine Technicolor brilliance, stunning choreography, and great narrative depth to create a film about the sacrifices and compulsions of artistic life; its tension between personal fulfillment and creative dedication makes it a relatable cinematic spectacle for filmmakers in particular.

8 'Roma' (2018)

Cleo holding a child while looking out a window in Roma (2018).

Guillermo del Toro has been friends with Alfonso Cuarón for decades, and both hail from Mexico. When del Toro grabs Cuarón's Roma from the shelf, he mentions that he spoke about making this semi-autobiographical masterpiece for over 20 years, changing the story and the plot but never steering away from what it truly wants to say. Now, in its final shape, Roma is indeed a modern cinematic feat; it combines intimate storytelling with political context and technical brilliance, very on-brand for Cuarón and his creative style. Roma won multiple Academy Awards, including Best Director and Best Foreign Language Film, and it pushed global streaming cinema into the art-house sphere.

Roma is set in early 1970s Mexico City and follows Cleo (Yalitza Aparicio), an indigenous domestic live-in worker for an upper middle-class Mexican family. Through her daily labor, relationships, and the family's challenges, Cleo navigates personal trials and political unrest in the country. The story beautifully captures societal and historical events while exploring the personal experiences of one woman. Shot in black-and-white with stunning long takes and minimal dialogue, the film achieves an immersive realism, and Cuarón creates visual poetry. Roma, similarly to Au Revoir Les Enfants, shows the power of personal filmmaking at an epic, timeless scale, and it's an endlessly rewatchable film because of it.

9 'Roma' (1972)

Several characters on a staircase in Roma - 1972.

There is another Roma on the list, but this one is Federico Fellini's. This Roma is a bold, semi-autobiographical exploration of the city of Rome, memory, and cinema itself (which is pretty much Fellini's signature). Universally hailed as a masterpiece, Roma is among Fellini's most influential works and a true peak of auteur cinema that uses imagery to evoke strong emotions. Before picking out his friend Alfonso Cuarón's Roma, del Toro picks out Fellini's, saying it's a movie he often revisits and mentions one of its scenes, without spoilers, adding that it's one of his "favorite scenes ever committed to film."

Fellini's Roma consists of surrealist vignettes that portray Rome in the director’s youth and the city’s contemporary culture. Fellini combines his personal memories with political satire and dreamlike imagery, creating a visually gorgeous portrait of urban life. Scenes range from street carnivals to religious rituals, showing off the versatility and the opposition that the Italian capital embraces, and the life itself that takes place on its streets. Roma innovatively approaches narrative norms, combining episodic storytelling with beautiful visual experimentation, which in turn influenced filmmakers worldwide, especially those leaning into autobiographical films and infusing personal experiences into film. Roma captures both the city's spirit and the fluidity of humans, but it, most importantly, cements Fellini's legacy as a visionary filmmaker.