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.
Quentin Tarantino’s Kill Bill Part One, coverage of The New York, Venice and Toronto Festivals, a midsection on movie music, the Istanbul film scene, first look at Tim Burton’s Big Fish, Lars Von Trier’s Dogville, Jane Campion’s In the Cut, Errol Morris’s The Fog of War, Alejandro González Iñárritu’s 21 Grams
Mystic River, Clint Eastwood, Yasujiro Ozu, Chinese Cinema Now, Buenos Aires cinema scene, Carlos Assayas’s demonlover, Gus Van Sant’s Elephant, BMW Films, Party Monster, Alec Baldwin’s guilty pleasures, and Jean-Luc Godard’s video essays
Ang Lee’s Hulk, part 2 of a special section on the work of Chris Marker, Cannes, Tribeca, and San Francisco Festival coverage, American Splendor, Michael Barker’s Guilty Pleasures, Copenhagen film journal
Central Asian Cinema, Chris Marker midsection: The Invisible Man; Chris Marker: Shock of the Old; Marker: The Truth About Paris; Chris Marker: Eyesight; Marker Direct ; New Directors / New Films; review of The Pianist
Aki Kaurismäki, Todd Haynes and Douglas Sirk, James Fotopoulos, Jia Zhang-ke, the Dardenne Brothers’ The Son, Maurice Pialat, the 28th annual grosses gloss, Sundance 2003 coverage, plus the readers’ poll
2002 Wrap Up; Movies that Mattered; Guilty Pleasures; Worst; Personal Bests; All Films Released; David Thomson and Cinephilia; Delmer Daves; Import DVDs; Essay Films; Gangs of New York; and Elia Suleiman