Reverse Shot A different angle on moving images—past, present, and future

Our annual awards continued: Best Anti-Biopic, Best Actress, Best Pandemic Activity, Most Unexpected Heartthrob, Most Unexpected Revelations, Dear Film Comment, and more.

Reverse Shot's annual awards, including Best Godard Remix, Worst Idea, Best Ensemble, Most Numbing, The Thrill-Isn't-Gone Award, Best Structuring Absences, Best Old White Male, and more

From the vantage of our quarantined silos, we’ve had occasion to reflect upon how and where we gather, particularly in independent film circles, and whether they might stand for improvement.

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

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.

Days, Martin Eden, Time, I Was at Home, But..., Bacurau, Vitalina Varela, Never Rarely Sometimes Always, Lovers Rock, First Cow, Malmkrog, To the Ends of the Earth

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.

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.

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

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

The radical in everyday life in a new American docu-comedy series and a classic by Abbas Kiarostami.

It is a quiet but influential work in its depiction of blackness, of Black romance and alterity in a shifting urban landscape. The film is both elegiac and symbolic, yet precisely located in San Francisco and true to the early 2000s.

“Will haunt you after it’s over . . . makes us think about the role that food plays in our lives—both as social beings and creatures of the earth.” –Vox

Jimmie cannot lay claim to the house as he wants to, cannot stabilize and contain his feelings about his family and himself. But the greater loss is that the city has no place for Mont’s theater.