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.
Michael Haneke’s Code Unknown, Ginger Snaps, Essential Oshima, Rohmer’s Four Seasons trilogy, Shadow of the Vampire, movie writers, the Coen Brothers, the Soviet New Wave, plus New York and Venice film festival coverage
Film Criticism on the Internet, interview with Cameron Crowe, Lars von Trier’s Dancer in the Dark, Dogme 95, Oscar Micheaux’s Body and Soul, the Histoire(s) du Cinema soundtrack, Michael Caine and Get Carter, Jean Eustache, Edward Yang’s Yi Yi, Harmony Korine’s guilty pleasures
Beaver Trilogy, Anne McGuire, Miranda July, Abbas Kiarostami's The Wind Will Carry Us, The Farrelly Brothers, John Waters, the MTV movie awards, Walter Hill's Supernova, Michelangelo Antonioni's Identification of a Woman, Lav Diaz, Raúl Ruiz's Time Regained, Paul Verhoeven's guilty pleasures
Mike Figgis’s Time Code, Michael Almereyda, Claire Denis’s Beau Travail, Burt Lancaster, Djibril Diop Mambéty, Alain Resnais, Burt Lancaster, Mike Mills
Krzysztof Kieslowski’s The Decalogue, Manny Farber, Al Pacino, John Ford, Peter Weir’s Fearless, Monte Hellman, Ian Hart, Martín Rejtman’s Silvia Prieto, Sundance 2000
Jim Carrey, Werner Herzog, Jane Campion's Holy Smoke, Paul Thomas Anderson's Magnolia, Kevin Bacon, best movies of the Nineties, avant-garde films, Clara Bow, Cornell Woolrich and Black Angel