Sep 5, 1988 — A wild mixture of gangster thriller, slapstick comedy, and bittersweet romance, François Truffaut’s second film was one of the signal works of the French New Wave.

Oct 29, 2018 — Professor Jeff Smith breaks down how François Truffaut’s loving tribute to the crime genre Shoot the Piano Player uses anamorphic widescreen compositions to stylish effect.

Dec 5, 2005 — If there is a skeleton key to François Truffaut’s oeuvre, it is this film, in which all of his assorted gifts and preoccupations are in play and meshed into a uniquely idiosyncratic whole.

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...

Dec 17, 2025 — This January, savor multiple levels of nostalgia with a survey of ’90s cinema’s riffs on the ’70s, or turn a new page with a collection of films about dreamers seeking fresh starts in life.

Jan 1, 2022 — Ring in the new year with the French New Wave, Joseph L. Mankiewicz, and a look back at the 1992 Sundance Film Festival.

Mar 19, 2015 — The author recalls his encounters and correspondence with the filmmaker.

Sep 28, 2021 — Melvin Van Peebles’s feature debut riffs on the French New Wave to tell a love story that portrays interracial intimacy and unflinchingly confronts the distortions of racism.

May 7, 2021 — Critics celebrate the new 4K restoration of The Story of a Three Day Pass (1968).

Mar 8, 2016 — Paris Belongs to Us marked the genesis of Jacques Rivette’s unique filmmaking style—introducing visual and narrative elements that Rivette would build on over the course of his long career.