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Finest worksong: documentarian Wang Bing discusses his two Cannes entries—the typically expansive Youth (Spring), and Man in Black, a briefer, but equally dense portrait of a composer

Growing up: M. Night Shyamalan's latest, Old, is a grim, half-baked parable for a world emerging tentatively from a pandemic

After a months-long hiatus, Film Comment is taking the first steps toward bringing the best in film criticism back to the our devoted audience around the world

A beautiful insanity: A 1964 statement from the filmmaker and renaissance man on his arrest for screening Jack Smith's Flaming Creatures

Nobody does it better: Film Comment’s best of 2018 will be revealed live in a special event on December 11 at the Film Society of Lincoln Center, featuring a roundup by the best critics

Light it up: the director of Vox Lux talks about the film’s rise-and-fall look at a pop-star and an entire era of modernity

Love and theft: a breathtaking debut feature by a Chinese filmmaker follows a teenage girl down the road of corruption

Camera eye: the man who helped shape Japanese classics from Kurosawa to Mizoguchi to Shinoda

No patience: the director of Milla and Nana speaks in praise of watching people live their lives, and crafting a cinema to match

Cri de cœur: two new voices on Léa Mysius’s Ava and Eugène Green’s Waiting for the Barbarians