| January 14, 2021
Years in Review

The art form is alive and healthy despite the onslaught of corporate monopolizing and the streaming dominance that made the closing of movie theaters feel even more ominous. An intrinsic truth has not changed, and likely will not: artists are out there making movies. Seek out their work.

By Clara Miranda Scherffig | January 22, 2021

Despite its arrangement of miscellany, The Metamorphosis of Birds is a marvelously coherent work of intimate nonfiction, a documentary that unfolds idiosyncratically, like a dream.

By Kathryn Cramer Brownell | January 21, 2021

The history of television political advertising sheds insights into why Trump’s dark rhetoric and outsider campaign strategy failed in 2020.

By Ryan Swen | January 19, 2021

Perhaps the most radiant film I have ever seen . . . Its ebullience rests largely in its synthesis and transformation of those most obvious of French cinematic stereotypes: an obsession with love and sensuality, extended conversations about overtly philosophical subjects.

By Carly A. Kocurek | January 15, 2021

This is a series firmly situated in a fraught and flawed framing of the past. The core games play out against a backdrop that could easily have been lifted from a Western Civilization syllabus, and that is a foundational problem.

By Bedatri D. Choudhury | January 14, 2021

If one anticipates the declassification of the FBI reports on MLK, are we then complicit in the invasion of his privacy and the attempt to racially stereotype him? This film insists that what the FBI did to King is emblematic of what this country does when it fears those who might undermine its entrenched hierarchies.

interview, feature
By Chris Shields | January 12, 2021
At the Museum

I bought a 16mm Bolex windup camera in 1987. And that is the camera I use. Wow. Can you think of all the cameras and cell phones and computers and laptops that each one of us has had in those intervening years? And I love that. I don't have to worry about batteries.

By Azadeh Jafari | January 5, 2021

During childhood, I also had the opportunity to experience a very different cinema: global art films, broadcast in a weekly program on Iranian national TV. In comparison to classical cinema, those films were serious, disorienting, and bleak . . . they encouraged me to crave meaning by looking inside, by criticizing my own emotions.

By Lawrence Garcia | January 4, 2021

Throughout his career, Steven Soderbergh has displayed both a fascination with the ground-level manifestations of globalization and an ability to leverage the demands of capital into the very style and substance of his creative work.


A new Reverse Shot short film creatively documents the private Critical Interventions symposium hosted at Museum on the Moving Image just before the pandemic closed down the world.

By Imogen Sara Smith | December 30, 2020

We read it not just for the light that smart writers can throw on cinema, but for the way that cinema, like the beam of a projector, lights up the minds of smart writers.

| December 30, 2020

The best Film Comment covers of the twenty-first century, in the humble opinions of the editors who chose them.

By Max Carpenter | December 29, 2020

Night of the Kings is a testament to a more inclusive future: actors are sourced not only from Abidjan but also from France and Burkina Faso, and the director pointedly serves us up a medley of western art touchstones and West-African traditions.

| December 29, 2020

This week’s guests are filmmaker Stephen Cone and RS contributor and Fordham professor Shonni Enelow to close out the year.

By Damon Smith | December 23, 2020

The Otherness it uncritically invokes touches on postcolonial realities and racial demonizing at a moment when England was embroiled in a thicket of social and economic problems and anti-immigrant violence. But its dark vision of the English soul as inherently corrupted and afflicted by madness was hardly a comforting takeaway.