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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.

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May-June 2020

Special essays on isolation and movies by Nick Pinkerton and Devika Girish, Imogen Sara Smith on Roy Andersson’s existentialist tragicomedy About Endlessness, Aboubakar Sanogo on the revolutionary legacy of Med Hondo, and Ela Bittencourt in conversation with the late Colombian genre-twister Luis Ospina. Plus: Camilo Restrepo on his electric feature debut Los Conductos, Sheila O’Malley on the film writing of the poet H.D., and Christopher Harris on his landmark St. Louis portrait still/here, along with an interview with avant-garde legend Michael Snow, Jia Zhang-ke’s viewing habits, Ari Aster and Alex Ross Perry on their home-viewing favorites, and much more.

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March-April 2020

Kelly Reichardt’s First Cow, Kleber Mendonça Filho and Juliano Dornelles’s radical genre mashup Bacurau, Nick Pinkerton on the maximalism of Hollywood royal King Vidor, an interview with Saturday Fiction director Lou Ye, and J. Hoberman on Thomas Heise’s epic essay film Heimat Is a Space in Time. Plus: Michael Koresky on the enduring promise of cinema, Pietro Marcello on Martin Eden, Garrett Bradley on Time, Isabelle Huppert in Loulou, Spike Lee’s trusted costume designer Ruth E. Carter, Amy Taubin on Sundance, and much more.

January-February 2020

The best of the decade and the best of 2019, with essays from Dennis Lim, Amy Taubin, and Devika Girish, and lists galore, from the best 50 films of the 2010s to critics’ and editors’ picks to the best films of 2019, with arguments for each by the magazine’s contributors. Plus, an extensive interview with Pedro Costa on his breathtaking Vitalina Varela, features on Pietro Marcello’s breakthrough Martin Eden and the best single-scene performances, interviews with Albert Serra and Angela Shanelec, and much, much more.