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The Film Comment Podcast: Movie Addictions

By Film Comment

June 13, 2017

Where were the parents? The films four critics can’t stop watching (for better or worse) and some pseudo-psychological attempts to figure out why

TCM Diary: Raoul Walsh Looks Back

By Steven Mears

June 12, 2017

The good ol’, bad ol’ days: the critical representations of the past in The Strawberry Blonde and They Died with Their Boots On

Film of the Week: Funeral Parade of Roses

By Jonathan Romney

June 9, 2017

Exploding cinema: the unbridled Id of Toshio Matsumoto’s late-Sixties avant-queer freak-out thrives in a new restoration

Deep Focus: It Comes At Night

By Michael Sragow

June 8, 2017

In walks company: the scariest part of Trey Edward Shults’s second feature is the arty bluster

The Film Comment Podcast: Fassbinder’s Eight Hours Don’t Make a Day

By Film Comment

June 6, 2017

Surviving the working week: a guide to Fassbinder’s newly restored must-see TV series, a humanist ode to the common man

The Stranger (1967)

By Farran Smith Nehme

June 2, 2017

Staring at the sea: Luchino Visconti’s rarely screened adaptation of Camus can’t outpace the charisma of its star

Deep Focus: Wonder Woman

By Michael Sragow

June 1, 2017

Unstoppable: the Amazon heroine offers a timely and poignant message in Patty Jenkins’s film

Cannes Interview: Sergei Loznitsa

By Jordan Cronk

May 31, 2017

Russian (narrative) arc: the director of My Joy discusses the political allegories of his latest, A Gentle Creature

Cannes 2017: Awards, Etc.

By Nicolas Rapold

May 31, 2017

An annotated list of the Cannes awards: Competition, Un Certain Regard, Directors' Fortnight, Critics' Week

Cinema ’67 Revisited: You Only Live Twice and Casino Royale

By Mark Harris

May 31, 2017

Bond unbound: her majesty’s secret service franchise faced the departure of its star, serious imitators, and an over-the-top parody of the genre it pioneered