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.
Zero for Conduct, The Royal Tenenbaums, Wes Anderson interviewed, 2001 New York Film Festival, Views from the Avant-Garde, the New York film scene post-9/11, Amélie reconsidered, Pauline Kael remembered by Paul Schrader and Howard Hampton
David Lynch’s Mulholland Drive, Va savoir; Richard Linklater’s Waking Life, Cahiers du Cinema at 50, Jacques Rivette’s Va Savoir, Bela Tarr, Kiyoshi Kurosawa, Richard Kelly, Abbas Kiarostami’s A.B.C. Africa, Eric Rohmer’s The Lady and the Duke
A.I., Michael Bay, Kon Ichikawa, François Ozon, Hollywood and porn, Mexico City Journal, Cannes 2001 coverage, Frederick Wiseman's Domestic Violence, Philippe Le Guay's Nightshift, Athina Rachel Tsangari, Hedwig and the Angry Inch, Shakespeare on film, Amy Poehler, Baz Luhrmann's guilty pleasures
Baz Luhrmann’s Moulin Rouge, John Turturro’s guilty pleasures, interview with Richard Widmark, Francis Ford Coppola’s Apocalypse Now, Terry Zwigoff’s Ghost World, Shinji Aoyama’s Eureka, bootleg video, interview with Walter Murch, Cologne journal
Readers’ poll, Jane Fonda profiled, Oscar predix, Ermanno Olmi, Robert Beavers, 2001 Sundance and Rotterdam festival coverage, digital video vs. film, Annual Grosses Gloss, Kerry Washington, Christopher Nolan, Catherine Breillat’s A ma soeur!, Jonathan Glazer
Terence Davies’s House of Mirth, Wong Kar-wai’s In the Mood for Love, Korea’s New Wave, Gillian Anderson and Steven Soderbergh interviewed, decade-end critics’ Poll, Ousmane Sembene’s Faat Kine, London film journal