Chronic

Dec 16, 2016 — One of the most ambitious achievements of Italian master Ermanno Olmi’s career, The Tree of Wooden Clogs opens at New York’s Film Forum today in a ravishing new 4K restoration, supervised by the director himself. Made in close collaboration with...

Dec 11, 2016 — Earlier this week, we shared our interview with John Pierson, creator and host of the TV series Split Screen, which chronicled the emergence of a vibrant American independent film movement at the turn of the century. Almost two decades after...

Dec 7, 2016 — This holiday season, we’re bringing our United Kingdom audience two sharply written portraits of New York family dysfunction with our editions of Wes Anderson’s brilliantly stylized ensemble comedy The Royal Tenenbaums and Noah Baumbach’s hilarious chronicle of a divorce The...

Nov 4, 2016 — Did You See This? The November/December issue of Film Comment has arrived, and the highlights include Mark Harris on queer representation in contemporary cinema, Violet Lucca on the power of digital VFX software, and Eric Hynes on the forty-year history of the...

Oct 20, 2016 — On the ninety-ninth anniversary of Jean-Pierre Melville’s birth, we’ve gathered a selection of essays, photos, and videos that showcase the best of the iconic director’s varied oeuvre.

Oct 14, 2016 — The two actors discuss their involvement with Richard Linklater’s twelve-year film production, its parallels with their own lives, and the emotional journey of making the film.

Sep 28, 2016 — “King of the Nudies” Russ Meyer injects his transgressive exuberance into this big-studio send-up of Hollywood debauchery.

Sep 28, 2016 — The salacious sixties phenomenon of the Dirty Book made its way to the big screen in this adaptation of Jacqueline Susann’s best seller.

Sep 15, 2016 — Need some respite from the twenty-four-hour news cycle? Bill Hader and Fred Armisen’s hysterical IFC Channel series Documentary Now! returns with some comedic salve for our weary election-season souls.

Sep 8, 2016 — Few political films have remained as incendiary or as relevant as Gillo Pontecorvo’s 1966 film.