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November-December 2017

Hong Sangsoo takes Manhattan, Ruben Östlund’s The Square, Alain Gomis’s Félicité, Twin Peaks: The Return, report from Tehran on Iranian cinema post-Kiarostami, Jafar Panahi, campus film societies, John Frankenheimer’s Playhouse 90 episodes, I, Tonya, Call Me by Your Name

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The Year of Hong
By Dan Sullivan
More amazing than the pace at which Hong Sangsoo makes movies is how daring and entertaining his tragicomedies of attraction and solitude continue to be

The Square
By Michael Koresky
Kindness isn’t contagious in Ruben Östlund’s satirical takedown of our many-tentacled Western culture and its gatekeepers

Twin Peaks: The Return
By Aliza Ma
David Lynch’s latest mass-media experiment was much more than “season three” of a beloved series—it pushed the filmmaker into new realms of the dark arts
Plus: Installations, paintings, and Peaks by Violet Lucca

Kevin Jerome Everson
By Max Nelson
For years, the Charlottesville-based artist has been making films about America’s marginalized people and spaces, including his latest, Tonsler Park, shot on an Election Day that will live in infamy

By Jonathan Romney
A singer seeks harmony in her increasingly fragmented life in the new film from Alain Gomis, set in Kinshasa and bursting with eclectic musical performances
Plus: An interview with Gomis by Nicolas Rapold

Return to Tehran
By Godfrey Cheshire
An expert in Iranian cinema reports from the country’s capital on the state of the art, post-Kiarostami
Plus: A festive visit with Jafar Panahi that is definitely not an interview

The Golden Age of Campus Film Societies
By Nick Pinkerton
From MIT to Wisconsin to Berkeley, we pay tribute to the student-run organizations that helped foster the movie love we share to this day
Plus: A gallery of ephemera


THE PRE-SHOW | News, views, conversations, and other things to get worked up about
News, Inspired: Arnaud Desplechin, Release Me: Cai Shangjun’s The Conformist by Nicolas Rapold, Directions: Michael Haneke by Nicolas Rapold, Restoration Row: Jean-Luc Godard’s Grandeur et décadence d’une petite commerce de cinéma by Max Nelson

Critics rate and comment 
on new releases

MAKE IT REAL | The wide, wide world of cinematic nonfiction
The fame game by Eric Hynes

FINEST HOUR | One actor, one performance
Sharmila Tagore in Devi (1960) by Mayukh Sen

ART AND CRAFT | Filmmaking according to the makers
Casting nonprofessionals: interviews with Sompot Chidgasornpongse, Eliza Hittman, Ellen Lewis, Kathleen Crawford, and Ronald Bronstein by Chris Shields

OFF THE PAGE | The art of getting from book to screen
John Frankenheimer’s Playhouse 90 adaptations by Robert Horton

CURRENTS | New and important work from festivals and elsewhere
Narimane Mari’s Le Fort des fous, Govinda Van Maele’s Gutland, Vivian Qu’s Angels Wear White, Huang Hsin-Yao’s The Great Buddha+, Rok Bicek’s The Family

IN MEMORIAM | Remembering cinéastes who have passed on
Jerry Lewis by R. Emmet Sweeney

THE BIG SCREEN | Reviews of notable new films opening in theaters (hopefully near you)
Reviews: I, Tonya by Violet Lucca, Call Me by Your Name by Molly Haskell, Daughter of the Nile by Andrew Chan, Lady Bird by Sheila O’Malley, Three Billboards Outside Ebbing, Missouri by Nick Pinkerton

Short Takes: Last Flag Flying by Michael Koresky, The Shape of Water by Steven Mears, Thor: Ragnarok by Michael Sragow, I Love You, Daddy by Aliza Ma, The Other Side of Hope by Devika Girish, Thelma by Margaret Barton-Fumo

HOME MOVIES | Cinema spun, streamed, and beamed
Wormwood by Nicolas Rapold, Acts of Vengeance by R. Emmet Sweeney, Casa de Lava by Ela Bittencourt, The Legend of the Holy Drinker by Michael Sragow, Lost Horizon by Farran Smith Nehme, Love with the Proper Stranger by Michael Koresky, The Sea Wolf by Steven Mears, Eight Films by Jean Rouch by Paul Fileri
Plus: 20 discs to watch and 20 titles to stream

READINGS | Books about all aspects of filmmaking and film culture
Michael Curtiz: A Life in Film by Alan K. Rode, reviewed by Imogen Sara Smith; Innocent by Gérard Depardieu, translated by Rainer J. Hanshe, reviewed by Nick Pinkerton; From the Third Eye: The Evergreen Review Reader edited by Ed Halter and Barney Rosset, reviewed by Michael Joshua Rowin

GRAPHIC DETAIL | The art of the movie poster
Alan Peckolick by Adrian Curry