Erika Balsom is a reader in film studies at King’s College London and the co-editor of Feminist Worldmaking and the Moving ...

Film Comment hosted the author Malcolm Harris for a special event celebrating the launch of his latest book, What’s Left: ...

The results are in for our 2022 poll of Film Comment’ s contributors! Our Top 20 lists in both the Released and Undistributed categories feature original appreciations from our critics, as well as ...

Walks beside me: an inclusive, elastic understanding of modern queer lives emerges across Dag Johan Haugerud’s Sex/Dreams/Love trilogy ...

By David Sterritt in the July-August 2000 Issue Abbas Kiarostami deserves more credit than any other single director for fueling the recent rise of Iranian cinema, arguably the most dramatic film ...

By Jordan Cronk in the January-February 2020 Issue E arly in Pedro Costa’s 2014 film Horse Money, a Cape Verdean woman named Vitalina recounts in detail the heartrending story of her late arrival to ...

Like many of Aki Kaurismäki’s films, Fallen Leaves is a slender tale of underclass melancholy. There’s little dialogue but plentiful music, often emanating from a jukebox. All of the furnishings seem ...

After the film’s screening at Cannes, Film Comment’ s Wang Muyan sat down with Yinan to discuss the meaning and appeal of crime stories, the director’s early exposure to cinema, the theme of illusory ...

By Gavin Smith in the January-February 1998 Issue The elusive search for peace, for equilibrium, has always been latent in the films of Martin Scorsese. But still, what does it mean for American ...

“There are many ways in which Zama, [Lucrecia] Martel’s first feature in nine years, represents a departure for the Argentine writer-director,” I wrote in “When All Is Lost,” my September/October 2017 ...

This article appeared in the November 2, 2023 edition of The Film Comment Letter, our free weekly newsletter featuring original film criticism and writing. Sign up for the Letter here. Vampyr (Carl ...

The Woman on the Beach (Jean Renoir, 1947, U.S.) – Photochemical Restoration Restored by the Library of Congress and The Film Foundation. The restoration was done by YCM Laboratories and the audio ...