Founded in 1962 and originally released as a quarterly, Film Comment features reviews and analysis of mainstream, art-house, and avant-garde filmmaking from around the world.
Jane Campion's Portrait of a Lady, Helke Misselwitz's Engelchen, Elia Kazan’s Wild River, Jean-Pierre Melville, Youssef Chahine, Cornel Wilde, James Benning, The Killers, an interview with Jules Dassin, coverage of the Beachmont Silent Film Festival, Venice, Toronto, and New York film festivals
Tsai Ming-Liang, Brigitte Lin, British war films, Maurice Pialat’s Le Garçu, John Carpenter’s Guilty Pleasures, artists as filmmakers, Nick Gomez, Jacques Demy’s The Young Girls of Rochefort, Eric Rohmer, Dan Ireland’s The Whole Wide World, Kent Jones on summer blockbusters
Cannes 1996, Abbas Kiarostami interviewed, Mission: Impossible, Michael Haneke, Hal Hartley, the films of Donald Cammell, Marcel Ophuls interviewed by Kurt Jacobsen, Trainspotting and Scottish cinema, Psycho revisited, Bernardo Bertolucci’s Guilty Pleasures
Jim Jarmusch’s Dead Man, Clint Eastwood, Sam Fuller, Stanley Kwan, Douglas Fairbanks Sr., John Sayles, Augustin Diaz Yanes’s Nobody Will Speak of Us When We Are Dead, Berlin Film Festival, Mamoru Oshii’s Ghost in the Shell
Jean-Luc Godard interviewed, Michele Soavi, Michael Mann, Jean Arthur interviewed, Michael Curtiz, pre-code Warner Bros., Ernest R. Dickerson's J*U*I*C*E
Ang Lee's Sense and Sensibility, Olivier Assayas, Billy Wilder's Double Indemnity, Aeon Flux, Wong Kar-Wai, Jean Renoir, Benjamin Ross's The Young Poisoner's Handbook, 1995 in review, Terence Davies's Guilty Pleasures