How Soon Is Now? The Killer, David Fincher’s latest entry in the canon of cinema du sociopath is a sleek, meticulously assembled film lives up to its punny tagline: “Execution Is Everything.”
Big plans: the latest from Ridley Scott, trailblazing auteur–turned–late-career journeyman, is an epic biopic of the war-mongering emperor that turns out to be a bit weirder than it initially seems
By Darren HughesMaterial history: the veteran filmmaker discusses his latest documentary, an investigation of the numerous German writers and artists who collaborated (often quietly) with the Nazi regime
The Film Comment Podcast: Mumbai Film Festival 2023
Gateway art: Inney Prakash joins to discuss this year's Mumbai Film Festival, an oasis for indie cinema in the glitzy homebase of Bollywood
By Saffron MaevePerchance to dream: a satire on celebrity and cancel culture, the new Nicholas Cage–vehicle, Dream Scenario, treads the thin line between critique and caricature
Boo: premised on illusion and promising endless reanimation, cinema is often called the ghostliest of mediums, haunted by phantoms since its beginnings
Finest worksong: documentarian Wang Bing discusses his two Cannes entries—the typically expansive Youth (Spring), and Man in Black, a briefer, but equally dense portrait of a composer
Listen to this: the place and role of music in NYFF61 biopics Maestro and Priscilla is instructive of the ways in which an artist’s life can only be understood through their work
Earth and sky: the director and cinematographer behind the NYFF61 standout discuss their poetic, evocative portrait of a young woman whose story is inextricably linked to a sense of community and place
Through the lens: Martin Scorsese’s Killers of the Flower Moon explores an overlooked chapter of American history, and intervenes in film history itself, especially as it pertains to representations of Native peoples
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