The French Chef: Trần Anh Hùng’s The Taste of Things, starring former off-screen lovers Juliette Binoche and Benoît Magimel, boasts all the classic elements of culinary cinema, but deploys them to culturally and narratively specific ends
Deep thoughts: Monica Castillo, Robert Daniels, and Vadim Rizov join for a documentary-centric discussion of DEVO, Eno, Soundtrack to a Coup d'Etat, and more
By Brittany Rosemary JonesExile on main street: the movies Luis Buñuel made in Mexico, the subject of a screening series at the Museum of Modern Art, combine his avant-garde roots with the commercial demands of the Golden Age of Mexican Cinema
The Film Comment Podcast: Sundance 2024 #5
Monica Castillo, Robert Daniels, and Vadim Rizov join for a documentary-centric discussion of DEVO, Eno, Soundtrack to a Coup d'Etat, and more
By Devika GirishTruth and consequences: three nonfiction titles stood out from this year’s lineup: the Richard Linklater–directed first episode of God Save Texas; War Game; and Union
Through the looking glass: the director of the Sundance sensation talks about making a new kind of trans cinema, recreating '90s television, and finding beauty in horror
Walking on water: A selection of newly restored films make clear the continuing relevance of the work of Lorenza Mazetti, a long-unheralded artist whose influential work is finally getting its due
Born again: Phạm Thiên Ân’s hypnotic debut feature Inside the Yellow Cocoon Shell is a formally breathtaking meditation on faith—and a testament to cinema as a vehicle for miraculous transformation
Out of the past: in this recently unearthed interview, the master filmmaker shares his thoughts on working with actors, adapting fiction, the debatable necessity of originality, and much more
Gut check: the latest pair of films from Soi Cheang, a Hong Kong genre master little known in the U.S., demonstrate the sleek blend of existential bleakness and technical wizardry that characterizes his cinema
Home viewing: the director discusses his latest highly personal documentary, his fascination with home movies, and his decision to withdraw his film from last November’s IDFA in protest of the festival’s response to the war in Gaza
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