Interview: Radu Jude on Do Not Expect Too Much From the End of the World
Great expectations: the Romanian filmmaker discusses his madcap latest, an unpredictable, funny, crass, and erudite that speaks to a wide variety of concerns—totalitarianism, neoliberalism, and the corrosive role of media—with extraordinary verve
Looking back: at the annual nonfiction showcase in Columbia, Missouri, the standout films all reanimated lost or repressed pasts and offered galvanizing visions of the future
By Catherine Quan DammanYou can’t go home again: the filmmaker and writer delves into the themes that span her new book, including Hong Kong cinema, reflections on diaspora, the unresolved questions of the postcolonial present, and history as a “collective haunting”
The Film Comment Podcast: The Films of Med Hondo
Blazing trail: scholar Aboubakar Sanogo joins to discuss the bristling anti-colonial visions of the great Mauritanian-French filmmaker
Reading history: this year's edition tips the scales toward ideas about documentation and bearing witness with films like Mati Diop’s Dahomey, Hong Sangsoo’s A Traveler’s Needs, and Victor Kossakovsky’s Architecton
Cosmic unity: the Belgian filmmaker discusses his the latest feature, its unique vision of immigrant life in Europe, and his evocative combination of micro and macro approaches to space
Physical graffiti: Yorgos Lanthimos’s Poor Things, starring Emma Stone as a reanimated dead woman, is a ribald, expertly designed, steampunk vision of feminist wish fulfillment—but is it any more than that?
Seeing is believing: a clinical approach to sound and spacial construction in Jonathan Glazer’s new film, The Zone of Interest, opens up important questions about the ethical implications of aesthetics
Through the lens: Martin Scorsese’s Killers of the Flower Moon explores an overlooked chapter of American history, and intervenes in film history itself, especially as it pertains to representations of Native peoples
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