Film Comment Magazine

Home of the finest independent film journalism since 1962, @FilmComment is debuting a quarterly digital magazine, offering subscribers access to cover features, reviews, in-depth interviews, reporting from top film festivals, podcasts, and more.

Stay up-to-date with all of our @Festival_Cannes coverage at @FilmComment. filmcomment.com

"Hüller, always compelling, is at her best—quiet but barbed, with a honed inner edge of defiance—as a woman who seems to have embraced daughterly subservience in response to the spiritual exhaustion occasioned by war and exile."

"Much of what we’ve seen has been familiar—reassuringly or depressingly." Jonathan Romney writes about early festival premieres Fatherland, In Waves, and Teenage Sex and Death at Camp Miasma, which stood out among more safe and familiar fare. filmcomment.com/article/cannes…

Y'all know we're doing a @FilmComment grid out of Cannes this year? Ft. all our fave contributors & colleagues. Follow here, we'll add films as they premiere: filmcomment.com/article/cannes…

Listen to Cannes 2026 No. 1: First Looks and stay up-to-date with all of our @Festival_Cannes coverage at filmcomment.com.

This includes Jane Schoenbrun’s Teenage Sex and Death at Camp Miasma, Kantemir Balagov’s Butterfly Jam, Pierre Salvadori’s The Electric Venus, and Charline Bourgeois-Tacquet’s A Woman’s Life. filmcomment.com/cannes-2026-po…

Cannes 2026 has arrived, and @FilmComment is on the ground, ready to cut through the noise with dispatches, interviews, Podcasts, a special Cannes Critics’ Grid, and much more.

On this week’s Podcast, @FilmComment Editor @devikagirgayi had a long conversation with @BootsRiley about the making of the movie, how he got into fashion when he was depressed, and why it’s important for him to make movies that show that the left can win. filmcomment.com/boots-riley-on…

@iloveboostersmv is a kaleidoscopic joyride that features professional shoplifters, lurking demons, Marxist magic, and more, anchored by an ensemble cast par excellence—including Keke Palmer, Naomi Ackie, Taylour Paige, Poppy Liu, Demi Moore, Eiza Gonzalez, and Lakeith Stanfield.

The director of 2018’s Sorry to Bother You and the 2024 streaming series I’m a Virgo @BootsRiley has returned with a movie that provides an invigorating riff on the theme that runs through all his work: the destruction of capitalism by an organized working class.

With @Festival_Cannes about to begin, Scott Macaulay discusses how this year’s festival presents a cross-section of an industry in flux. filmcomment.com/article/cannes…

“A fuller assessment of Cannes today, and its role in the cinema ecosystem, requires a consideration of the festival selections alongside developments and trends captured by the accompanying Marché du Film.”

Explore the full photo gallery! filmlinc.org/daily/photos-c…

Thank you to everyone who made this launch possible and to all the colleagues and subscribers who came out to party with us! And thanks to Sean DiSerio for capturing the evening on camera. Discover the new era of Film Comment and subscribe today at filmcomment.com.

Last Friday, we celebrated the launch of Film Comment's new quarterly digital magazine and archive with a party at @DCTVny!

a wonderful night. long live FC!