The Film Comment Podcast

Earlier this month, Film Comment hosted the author Malcolm Harris for a special event celebrating the launch of his latest book, What's Left: Three Paths Through the Planetary Crisis—an invigorating analysis of climate change and the collective solutions required to rescue humanity from it. In addition to being a trenchant public intellectual, Harris is also a dedicated cinephile who often uses movies to make sense of politics and history—something we explored on a 2023 Podcast focused on his previous book, Palo Alto: The History of California, Capitalism, and the World.  One film Harris discusses in detail in his latest book is Chadian director Mahamat-Saleh Haroun's GriGris. It's a sensuous, suspenseful thriller about a disabled dancer in Chad who takes up petrol smuggling in order to pay for his stepfather's medical expenses. As Harris describes in his book, it's also an incredibly intelligent movie about the life-and-death stakes of the petrochemical industry, especially in the Global South. To dig deeper into Harris's unique attraction to the film, Film Comment Editors Devika Girish and Clinton Krute invited him to present a screening of GriGris, followed by a panel discussion with Harris and Ugandan scholar Anselm Kizza-Besigye. The group dug into movie's alluring classical structure and its explosive conclusion, cinematic portrayals of the climate crisis, and much more.

One of our favorite movies of 2025 so far is Sarah Friedland's debut feature Familiar Touch, which opens in theaters in New York on Friday, June 20. The film follows an octogenarian with dementia, played by Kathleen Chalfant, as she settles into her new life in a nursing home. It's a delicate, touching, and surprising work that evades clichéd depictions of elderly people—thanks in part to the collaborative process through which it was made. The film was shot in a real care facility in Pasadena, with residents participating in the production process and appearing in the film.  Chalfant, a stalwart of the New York stage, anchors the film with a towering performance. On today's episode, Film Comment invited Molly Haskell, herself a stalwart of American film criticism, to interview Chalfant, after learning she was particularly impressed by Chalfant's work in the film. Their fascinating conversation touches upon depictions of aging onscreen, Chalfant's preparation for the role, how the film resists sentimentality, and more.

For the last two weeks, our on-the-Croisette crew of Film Comment contributors has been reporting from the 2025 Cannes Film Festival with a series of thoughtful dispatches, interviews, and Podcasts. Before the festival wrapped on May 24, Film Comment partnered with Cannes Docs, the nonfiction-focused section of the Marché du film, on a panel titled “The Voice of Documentary.” Moderated by FC Editor Devika Girish, the panel convened three practitioners of radical nonfiction—Eduardo Williams (The Human Surge 3), Brett Story (Union), and Zoya Laktionova (Ashes Settling in Layers on the Surface)—to unpack the ethical and practical ways in which documentaries use sound, voice, and audio to speak to us and shape us as listeners. 528861

Cannes 2025 is wrapping up this weekend—and our intrepid on-the-Croisette crew of Film Comment contributors has been high-tailing it from screening to screening, cutting through the noise with a series of thoughtful dispatches, interviews, and podcasts. For our ninth episode from the sunny shores of southern France, all-star critics Justin Chang, Tim Grierson, and Allison Willmore join Editor Devika Girish for our final on-the-ground panel conversation from this year's edition. The four dig into two of the most anticipated films from the festival's later days, including Bi Gan's Resurrection (4:30) and Kelly Reichardt's The Mastermind (26:10), before touching on some heretofore undiscussed competition selections: Wes Anderson's The Phoenician Scheme (45:00), Saeed Roustayi's Woman and Child (46:25), the Dardenne Brothers's Young Mothers (50:40), and Mario Martone's Fuori (1:02:05). Subscribe today to The Film Comment Letter for a steady stream of Cannes coverage, providing everything you need to know about the 2025 edition.

Cannes 2025 has arrived—and you can count on our on-the-Croisette crew of Film Comment contributors to cut through the noise with thoughtful dispatches, interviews, and Podcasts. This year's festival is packed with exciting premieres, including new films from Richard Linklater, Lynne Ramsay, Spike Lee, Bi Gan, Julia Ducournau, Wes Anderson, and many more. For our fifth episode from the French Riviera, Film Comment Editor Devika Girish is joined by critics Abby Sun, Beatrice Loayza, and Giovanni Marchini Camia to discuss some late-festival premieres, including Joachim Trier's Sentimental Value, Carla Simón's Romería, Oliver Hermanus's The History of Sound and Nadav Lapid's Yes. Subscribe today to The Film Comment Letter for a steady stream of Cannes coverage, providing everything you need to know about the 2025 edition.

Cannes 2025 is in full swing—and you can count on our on-the-Croisette crew of Film Comment contributors to cut through the noise with thoughtful dispatches, interviews, and Podcasts. This year's festival is packed with exciting premieres, including new films from Richard Linklater, Lynne Ramsay, Spike Lee, Bi Gan, Julia Ducournau, Wes Anderson, and many more. For our seventh episode from the film world's grandest event, Film Comment Editor Devika Girish is joined by critics Kong Rithdee (back by popular demand!) and Inney Prakash to debate two recent premieres from legendary auteurs: Jafar Panahi's It Was Just an Accident (2:33) and Lav Diaz's Magellan (14:12). Next, the group discusses one of the highlights of this year's Cannes Classics section, T'ang Shu Shuen's 1968 film The Arch (23:14), before turning to Ratchapoom Boonbunchachoke's A Useful Ghost (29:09), which just won the Grand Prize at Cannes Critics' Week. Subscribe today to The Film Comment Letter for a steady stream of Cannes coverage, providing everything you need to know about the 2025 edition. Note: Around 18:00, we experienced some equipment problems that resulted in slight glitches on the audio track. We apologize for the inconvenience.

Cannes 2025 has arrived—and you can count on our on-the-Croisette crew of Film Comment contributors to cut through the noise with thoughtful dispatches, interviews, and Podcasts. This year's festival is packed with exciting premieres, including new films from Richard Linklater, Lynne Ramsay, Spike Lee, Bi Gan, Julia Ducournau, Wes Anderson, and many more. For our sixth episode from the French Riviera, Film Comment Editor Devika Girish is joined by critics and FC stalwarts Miriam Bale, Robert Daniels, and Jessica Kiang to discuss their recent viewing at the fest, including Spike Lee's Highest 2 Lowest, Julia Ducournau's Alpha (23:09), Akinola Davies Jr.'s My Father's Shadow, and Hlynur Pálmason's The Love That Remains (49:25). Subscribe today to The Film Comment Letter for a steady stream of Cannes coverage, providing everything you need to know about the 2025 edition.

Cannes 2025 has arrived—and you can count on our on-the-Croisette crew of Film Comment contributors to cut through the noise with thoughtful dispatches, interviews, and Podcasts. This year's festival is packed with exciting premieres, including new films from Richard Linklater, Lynne Ramsay, Spike Lee, Bi Gan, Julia Ducournau, Wes Anderson, and many more. For our fifth episode from the French Riviera, Film Comment Editor Devika Girish is joined by critic Kong Rithdee and scholar Neta Alexander to discuss some of the most highly anticipated premieres to screen to date, including Christian Petzold's Mirrors No. 3 (2:30), Sebastián Lelio's The Wave (16:50), and Kleber Mendonça Filho's The Secret Agent (27:14). Subscribe today to The Film Comment Letter for a steady stream of Cannes coverage, providing everything you need to know about the 2025 edition.

Cannes 2025 has arrived—and you can count on our on-the-Croisette crew of Film Comment contributors to cut through the noise with thoughtful dispatches, interviews, and Podcasts. This year's festival is packed with exciting premieres, including new films from Richard Linklater, Lynne Ramsay, Kleber Mendonça Filho, Spike Lee, Bi Gan, Julia Ducournau, Wes Anderson, and many more. For our fourth episode from the sunny shores of southern France, Film Comment contributor Mark Asch and critics Kong Rithdee, and Isabel Stevens join Editor Devika Girish to discuss some of the festival's buzziest titles, including Kristen Stewart's The Chronology of Water (3:35), Lynne Ramsey's Die My Love (12:00), Richard Linklater's Nouvelle Vague (29:22), and Harris Dickinson's Urchin (40:35). Subscribe today to The Film Comment Letter for a steady stream of Cannes coverage, providing everything you need to know about the 2025 edition.

Cannes 2025 has arrived—and you can count on our on-the-Croisette crew of Film Comment contributors to cut through the noise with thoughtful dispatches, interviews, and Podcasts. This year's festival is packed with exciting premieres, including new films from Richard Linklater, Lynne Ramsay, Kleber Mendonça Filho, Spike Lee, Bi Gan, Julia Ducournau, Wes Anderson, and many more. For our third episode from the sunny shores of southern France, Film Comment contributors Mark Asch and Beatrice Loayza join Editor Devika Girish to unpack two of the most go-for-broke selections to screen so far—Oliver Laxe's Sirât (2:25) and Ari Aster's Eddington (21:20)—before turning to the more modest charms of Hafsia Herzi's The Little Sister (41:20). Subscribe today to The Film Comment Letter for a steady stream of Cannes coverage, providing everything you need to know about the 2025 edition.

Cannes 2025 has arrived—and you can count on our on-the-Croisette crew of Film Comment contributors to cut through the noise with thoughtful dispatches, interviews, and Podcasts. This year's festival is packed with exciting premieres, including new films from Richard Linklater, Lynne Ramsay, Kleber Mendonça Filho, Spike Lee, Bi Gan, Julia Ducournau, Wes Anderson, and many more. For our second Podcast from the French Riviera, Isabel Stevens and Thomas Flew from Sight and Sound sit down with Film Comment Editor Devika Girish to discuss Mission: Impossible – The Final Reckoning, the purported final installment of the long-running action series. To set things up, Isabel talks about her recent career-spanning interview with Tom Cruise, the cover story of the latest issue of Sight and Sound, before the group leans into the high-octane pyrotechnics of the film. Next, they turn to two other hotly anticipated premieres: Two Prosecutors (19:55), from Ukrainian auteur Sergei Loznitsa, and Left-Handed Girl (32:20), directed by longtime Sean Baker–collaborator Shih-Ching Tsou. Subscribe today to the Film Comment Letter for a steady stream of Cannes coverage, providing everything you need to know about the 2025 edition.

Cannes 2025 has at last arrived—and while news of standing ovations and walkouts, throwaway raves and pans, spit takes and hot takes flood your feed, you can count on our on-the-Croisette crew of Film Comment contributors to cut through the noise with thoughtful dispatches, interviews, and Podcasts. This year's festival is packed with exciting premieres, including new films from Richard Linklater, Lynne Ramsay, Kleber Mendonça Filho, Spike Lee, Bi Gan, Julia Ducournau, Wes Anderson, and many more. To kick off our patented daily Cannes Podcasts, Film Comment Editor Devika Girish gathered FC Podcast veterans Jonathan Romney and Guy Lodge to discuss the first day's offerings. Jonathan begins by describing the Opening Night selection, Amélie Bonnin's Leave One Day (7:00), before the group debates other early festival premieres like Robin Campillo's Enzo (11:20) and Mascha Schilinski's Sound of Falling (22:17).

Legendary American scholar and critic Tom Gunning has changed the way we think about film history and the future of the medium, profoundly influencing generations of academics, artists, and cinephiles. On Sunday, April 27, Devika Girish and Clinton Krute hosted a live conversation with Gunning and curator David Schwartz at the Museum of the Moving Image, following a screening of Hal Hartley's Flirt (1995), an experimental narrative of love and loss set in three cities—New York, Berlin, and Tokyo. The event was part of a multiday series of screenings and discussions organized by Schwartz, taking place at venues including MoMI, Anthology Film Archives, and Light Industry. This special weekend marked the publication of a new collection of Gunning's writing, entitled The Attractions of the Moving Image: Essays on History, Theory, and the Avant-Garde. The conversation covered a wide range of topics, from Gunning's seminal essay “The Cinema of Attractions” (1986) to his teacher-student relationship with Hartley to some contemporary films that he's (perhaps surprisingly) enjoyed.

Ryan Coogler's Sinners, a singularly ambitious horror film set in 1930s Mississippi, is currently setting theaters ablaze (in an array of formats and aspect ratios to boot). The film stars Coogler mainstay Michael B. Jordan in a dual role as a pair of badass twins returning to their rural hometown of Clarksdale to build a blues joint—with performers whose talents are powerful enough to summon some unwanted spirits.  To talk about this fascinating film—which weaves together genres and tones to startling, if at times overwhelming, effect—Film Comment Editors Clinton Krute and Devika Girish invited Podcast veteran Robert Daniels (Rogerebert.com) and FC's very own Michael Blair into their humble juke-joint. After sinking their fangs into Sinners, the group touches on a few other new theatrical releases they're excited about, including Steven Soderbergh's stylish spy thriller Black Bag (42:26) and Andrew Ahn's The Wedding Banquet (52:22), a refreshing update on Ang Lee's 1993 classic.

A new film by David Cronenberg is always a major event for all of us at Film Comment, especially after his 2022 opus Crimes of the Future was voted the Best Film of the Year by our contributors. So with Cronenberg's latest, The Shrouds, opening in cinemas this weekend, we invited this singular auteur to talk about his strange and thrilling new movie.  Like much of Cronenberg's work, The Shrouds is obsessed with sex and death, body and technology. But it's also funnier and more personal than almost anything the Canadian filmmaker has made before. Written in the wake of his wife Carolyn Cronenberg's death, the film follows a grieving entrepreneur named Karsh (Vincent Cassell), who has invented software that allows people to monitor the decaying bodies of their deceased loved ones. When some of Karsh's high-tech graves are vandalized, a complicated mystery arises, embroiling a number of eccentric characters—including the lookalike sister of Karsh's dead wife, played by Diane Kruger, and her ex-husband, a software developer played by Guy Pearce. As questions and conspiracies proliferate in the film, answers become more and more elusive. In the process, The Shrouds emerges as an extremely intelligent and moving film about our desperation for explanations in the face of the unknowable. For today's episode, Film Comment Editors Devika Girish and Clinton Krute chat with Cronenberg about making art to process loss, the eroticism of conspiracy theories, and why The Shrouds is very much a Toronto film.

Spring is finally in the air, and, for New York City cinephiles, that means it's time for another edition of New Directors/New Films, the annual showcase for standout works by emerging filmmakers co-hosted by Film at Lincoln Center and the Museum of Modern Art. The festival is always a reliable sign of trends to come and talents to look out for—past editions have featured early films by Spike Lee, Christopher Nolan, and Kelly Reichardt, among others. This year's iteration opens tonight and runs through April 13. Over the past few years, Film Comment has established our own annual tradition of previewing the best movies in the ND/NF lineup with some of our favorite critics. This time around, FC Editors Devika Girish and Clinton Krute invited Mark Asch and Natalia Keogan for a rundown of some of the gems in the 2025 edition, including Opening Night selection Familiar Touch (3:45); Mad Bills to Pay (or Destiny, dile que no soy malo) (18:55); Lost Chapters (28:41); Invention (37:06); Drowning Dry (45:45); Holy Electricity (53:52); and more.

Today's episode marks another entry in our New Releases series, where we dig into the latest titles opening in theaters and offer recommendations on what's worth seeking out and what's better left skipped. With so many worthy films to choose from lately, Film Comment's Devika Girish and Clinton Krute invited critic Tim Grierson (Los Angeles Times, Screendaily, and elsewhere) to help us whittle down the selection. Tim starts things off with a brief report from the South by Southwest festival in Austin, which he's currently attending. The trio then digs into some of the buzziest titles out right now—including Mark Anthony Green's Opus (7:38) and Bong Joon Ho's Mickey 17 (19:00)—before showing some love for a couple smaller, but still unmissable movies: Alain Guiradie's Misericordia (41:30) and Carson Lund's Eephus (51:46).

The Academy Awards take place on Sunday, March 2, bringing a strange and wonderful year in cinema—and an awards race filled with surprises and scandals—to an end. Will Emilia Perez win prizes despite the controversy surrounding its lead actress? Will Timothée Chalamet as Bob Dylan beat Adrien Brody as a brutalist architect in the Best Actor category? Will Oscar voters penalize films for using too much AI? We don't have all the answers to these pressing questions but, as usual, we do have a lot of opinions and (probably inaccurate) predictions. To sound those out, Film Comment editors Devika Girish and Clinton Krute joined Los Angeles Review of Books editors Eric Newman and Paul Thompson on their Radio Hour program to hotly debate the relative merits of Anora, Nickel Boys, Conclave, A Complete Unknown, The Brutalist, and other films vying for a statuette or two on Sunday.

On January 31, Film at Lincoln Center opened a landmark new retrospective titled Frederick Wiseman: An American Institution. The series showcases new 4K restorations of over thirty of the filmmaker's works, which together form a monumental survey of modern American life—with a frequent focus on the intersections of individuals and institutions. Wiseman just turned 95 on New Year's Day, and the FLC series comes on the heels of similar retrospectives in Chicago, Portland, Maine, and Vancouver—with more planned for Paris, Los Angeles, St. Louis, Boston, and beyond. How does one even begin to consider a body of work so sprawling, so rigorous, and so significant? For today's episode, Film Comment hosted a “Wiseman Potluck,” where each guest was tasked with bringing one film that especially resonates with them to the discussion. Film Comment Editors Clinton Krute and Devika Girish were joined by Andrew Katzenstein, the author of a terrific new essay on Wiseman for the New York Review of Books; Genevieve Yue, who interviewed the legendary filmmaker for the Film Comment Letter in 2022; and FC‘s very own Michael Blair. The group covered the films Central Park (1990), At Berkeley (2013), Basic Training (1971), Aspen (1991), Blind (1986), and more, and reflected on Wiseman's politics of observation and striking eye for beauty. The Mains: Central Park (3:30) At Berkeley (17:30) Law and Order + Basic Training (23:10) Aspen (35:20) Blind (47:31) Some Desserts: The Store (1983) Un Couple (2022) Menus-Plaisirs – Les Troisgros (2023)

When it comes to love and desire, the movies have always had a powerful sway: as a mirror, as a site of fantasy, and as a perfect backdrop for date night. For Valentine's Day this year, Film Comment Editors Clinton Krute and Devika Girish invited author Haley Mlotek and filmmaker Matthew Rankin, two highly trained experts in the parallel worlds of cinema and romance, onto the Podcast for a love-centric edition of You're Projecting, our advice column for cinephiles.  We call them experts for good reason: Haley's new book No Fault: A Memoir of Romance and Divorce brilliantly captures the highs and lows of falling in and out of love, and she's just programmed the upcoming series The Divorced Women's Film Festival at Metrograph. Matthew's surreal new movie, Universal Language, is all about yearning, connection, and the many forms that love can take. The group weighs in on queries, pleas, and confessions submitted by our readers and listeners, lovelorn and lovestruck alike.

The International Film Festival of Rotterdam, which ran from January 30 through February 9 this year, is a festival with a uniquely wide-ranging and eclectic program of new and repertory films; narrative, documentary, and experimental work; and installations, performances, and expanded cinema. One of the highlights of this year's festival was a special focus section called Through Cinema We Shall Rise! The event marked the 70th anniversary of the historic Bandung Conference of 1955, where 29 Asian and African countries gathered in Indonesia to announce the birth of a new anti-colonialist “Third World.” The conference inspired the creation of the Afro-Asian Film Festival, which took place in Tashkent in 1958, Cairo in 1960, and Jakarta in 1964. The program at Rotterdam features 15 titles selected from those three editions, spanning films from China, Tibet, India, Thailand, Vietnam, Ghana, and more.  Today's episode delves into these films and the context from which they emerged. For the first half, Film Comment Editor Devika Girish sits down with two Indonesian curators and artists, Bunga Siagian and Yuki Aditya, to sketch out the history of the Bandung Conference and the three Afro-Asian Film Festivals. In the second half, critics and programmers Cici Peng and Inney Prakash join the group to discuss the films shown at Rotterdam—their aesthetics, politics, and relevance to the present. Films discussed: Turang (Bachtiar Siagian, 1958), Freedom for Ghana (Sean Graham, 1957), Law of Baseness (Aleksandr Medvedkin, 1962), A Phu and His Wife (Loc Mai, 1960), The Open Door (1963), The Red Detachment of Women (Xie Jin, 1961), Serfs (Li Jun, 1965), Five Golden Flowers (Wang Jiayi, 1959)

Real-life stories of grisly crimes have always had a primal pull on our collective imagination. It's now axiomatic that if there's anything that sells better than sex, it's true crime. In the last decade, the genre has blown up into a media behemoth, with more and more cliffhanger podcasts, television shows, and documentaries released each year, spinning murders and mysteries into engrossing narratives. Yet these stories also raise uncomfortable questions—about the role of the media in criminal justice, the objectivity of nonfiction filmmaking, and our voyeuristic fascination that fuels this phenomenon. At this year's Sundance Film Festival, Film Comment Editor Devika Girish moderated a conversation with three nonfiction filmmakers from the festival's lineup whose works question and subvert the expectations of the true-crime mode: Charlie Shackleton (Zodiac Killer Project), David Osit (Predators), and Geeta Gandhbir (The Perfect Neighbor). The panelists explored the origins and popularity of the true-crime trend, and its implications for both audiences and media-makers. Catch up with all of our Sundance 2025 coverage at filmcomment.com

The great French actress Isabelle Huppert is a mainstay at many international festivals, but seeing her grace the screens at Sundance in Park City, Utah was a uniquely pleasant surprise. Huppert stars in LUZ, the second feature from Hong Kong director Flora Lau, which premiered in the World Cinema Dramatic Competition at this year's edition. The film follows two characters who turn to virtual reality to attempt to reconnect with estranged loved ones. One of them is a reformed gangster in Chongqing trying to find his daughter who was taken away from him years ago; the other is a Hong Kong gallery owner who goes to Paris to visit her stepmother (played by Huppert) who is facing a terminal diagnosis. Huppert carries the role with her typical combination of flair and subtlety, portraying a woman who faces mortality with quiet, even irreverent self-assuredness.  Last week, Film Comment Editor Devika Girish chatted with Huppert about how she came to be a part of LUZ, what it's like to communicate across language barriers on and off-screen, and how Apichatpong Weerasethakul introduced her to virtual reality. Catch up on all of our Sundance 2025 coverage at filmcomment.com

It's late January, which means that the intrepid Film Comment crew is once again on the snowy slopes of Park City, Utah, bringing you dispatches, interviews, and podcasts covering all the highlights of this year's Sundance Film Festival. For the next week, we'll be gathering the best critics on the scene to talk about each day's premieres on the Podcast. On today's episode, Film Comment Editor Devika Girish is joined by critics Lovia Gyarkye (The Hollywood Reporter), Alana Pockros (The Nation), and Lisa Wong Macabasco (Vogue) to discuss two of the best films to premiere at the festival so far—Kahlil Joseph's BLKNWS: Terms & Conditions (2:45) and Mary Bronstein's If I Had Legs I'd Kick You (14:07). The group also debates Katarina Zhu's Bunnylovr (23:18), Hailey Gates's Atropia (35:40), and Charlie Shackleton's Zodiac Killer Project (46:42). Catch up on all of our Sundance 2025 coverage at filmcomment.com

It's late January, which means that the intrepid Film Comment crew is once again on the snowy slopes of Park City, Utah, bringing you dispatches, interviews, and podcasts covering all the highlights of this year's Sundance Film Festival. For the next week, we'll be gathering the best critics on the scene to talk about each day's premieres on the Podcast. On today's episode, Film Comment Editor Devika Girish is joined by Vadim Rizov (Filmmaker Magazine) and Ruun Nuur (co-founder of Evil Eye Cinema; features programmer at Cleveland International Film Festival) to discuss festival selections Predators (2:30), The Stringer (20:10), Khartoum (29:25), Mad Bills to Pay (or Destiny, dile que no soy malo) (34:58), and Peter Hujar's Day (45:30). Catch up on all of our Sundance 2025 coverage at filmcomment.com

It's late January, which means that the intrepid Film Comment crew is once again on the snowy slopes of Park City, Utah, bringing you dispatches, interviews, and podcasts covering all the highlights of this year's Sundance Film Festival. For the next week and a half, we'll be gathering the best critics on the scene to talk about each day's premieres on the Podcast. Today, Film Comment Editor Devika Girish is joined by critics Robert Daniels (rogerebert.com) and Tim Grierson (Screen International, Los Angeles Times, and more) to discuss early festival selections Marlee Matlin: Not Alone Anymore (2:35), Rabbit Trap (11:40), Twinless (25:40), and By Design (36:26). Catch up on all of our Sundance 2025 coverage at filmcomment.com

It's late January, which means that the intrepid Film Comment crew is once again on the snowy slopes of Park City, Utah, bringing you dispatches, interviews, and podcasts covering all the highlights of this year's Sundance Film Festival. For the next week and a half, we'll be gathering the best critics on the scene to talk about each day's premieres on the Podcast. To kick things off, Film Comment Editor Devika Girish gathered Maddie Whittle (programmer at Film at Lincoln Center; FC contributor), Ruun Nuur (co-founder of Evil Eye Cinema; features programmer at Cleveland International Film Festival), and Vadim Rizov (Filmmaker Magazine) to share their responses to the films premiering during the first few days of the fest. The group discusses SLY LIVES! (aka the Burden of Black Genius) (3:07), Pee-wee as Himself (20:48), All That's Left of You , and The Perfect Neighbor.  Stay tuned for more of our Sundance 2025 coverage!

Nosferatu, the new film by Robert Eggers, has been the talk of the movie-town since its release on Christmas Day. With his remake of F.W. Murnau's 1922 classic of the same name, Eggers has become the latest auteur to bring Bram Stoker's 1897 novel Dracula to the screen, joining a group that also includes Werner Herzog and Francis Ford Coppola. Like those before him, Eggers makes the tale of the Transylvanian vampire all his own. His Nosferatu is rooted in precise historical detail—as in his earlier films like The Witch (2015) and The Northman (2022)—while also bringing a contemporary psychodramatic sensibility to the characters, particularly Count Orlok (Bill Skarsgård) and Ellen (Lily-Rose Depp). On today's Podcast, Eggers joins Film Comment Editor Devika Girish to discuss why he wanted to make Dracula “scary” again, the polarizing feminist readings of Nosferatu, and the visual restraint of the film. If you stick it out until the end, you'll also hear Eggers share some of the movies and T.V. shows he counts as Guilty Pleasures—including a reality show featuring a “demonic masc villain.”

A new film from Mike Leigh is always a cause for celebration. Starting with his first feature Bleak Moments in 1971, Leigh has carved out a singular place in British and global cinema for his beautifully sensitive and detailed portraits of the lives of his largely working-class characters. His latest, Hard Truths, arrives six years after his previous release, the 2018 historical drama Peterloo. The new film reunites Leigh with the great actress Marianne Jean-Baptiste, with whom he worked on the Oscar-nominated Secrets & Lies in 1996. In Hard Truths, Jean-Baptiste plays Pansy, a middle-aged Londoner teetering on the verge of a nervous breakdown. Perpetually unhappy, she spends her days spewing vitriol at everyone she encounters—especially her resigned husband (David Webber) and depressed adult son (Tuwaine Barrett). Only after she is confronted by her sister, played by Leigh veteran Michelle Austin, does she begin to confront the roots of her inexplicable anger. On today's Podcast, Film Comment Editors Devika Girish and Clinton Krute sat down with Leigh to dig into his process—everything from casting actors and choosing locations to working with music composers and choosing the film's title. A true actor's filmmaker, Leigh works closely with his cast over months to develop characters and their backstories. What we see on screen is only, as Leigh remarked, “the tip of the iceberg.”

Two enigmatic icons with enduring holds on the Western imagination are currently lighting up multiplex screens: fearsome Transylvanian vampire Dracula and Nobel Prize–winning American treasure Bob Dylan. Both released on Christmas Day, Robert Eggers's Nosferatu and James Mangold's A Complete Unknown are ambitious efforts at crafting new and absorbing tales out of these two mainstays of pop culture. Nosferatu stars Bill Skarsgård, Lily Rose-Depp, and Nicholas Hoult in the latest adaptation of Bram Stoker's novel, joining a cinematic canon established by filmmakers like F.W. Murnau, Francis Ford Coppola, and Werner Herzog. A Complete Unknown features Timothée Chalamet as the young Dylan, tracing his arrival in New York in 1961 to his set at the 1965 Newport Folk Festival, where he famously decided to “go electric.” On this week's Podcast, Film Comment editors Devika Girish and Clinton Krute invited Lovia Gyarkye, film critic at The Hollywood Reporter, and FC's very own Michael Blair (a Dylan aficionado) to debate the successes and failures of the two films—for both loyalists and neophytes of Dylan & Dracula. The group also discussed a few other Christmas Week releases, including Barry Jenkins's Mufasa and Rachel Morrison's The Fire Inside—and if you stay till the very end, you can also listen to their thoughts on Peter Watkins's monumental La Commune (Paris, 1871) (2000), which the Film Comment team viewed this past weekend at Anthology Film Archives. Sections: A Complete Unknown (7:25) Nosferatu (31:20) Mufasa (48:00) The Fire Inside (52:16) La Commune (Paris, 1871) (55:56)

On December 12, 2024, as part our annual winter list extravaganza, Film Comment Editors Clinton Krute and Devika Girish led a panel of special guests—Molly Haskell (critic, author), and Michael Koresky (critic, founding editor of Reverse Shot)—for a live real-time countdown of the films topping our year-end critics' poll. The evening featured a lively discussion (and some hearty debate) about the films as they were unveiled—and now it's here in Podcast form, for your home-listening pleasure. Consider it a holiday gift from us to you, our loyal listeners. Read the full list, plus Best Undistributed Films, individual ballots, and more, at filmcomment.com/best-films-of-2024

Sleepily emerging from the turkey-induced haze of Thanksgiving break and looking ahead to the barrage of Best of 2024 lists, Film Comment Editors Devika Girish and Clinton Krute invited critics Robert Daniels and Beatrice Loayza to discuss some of the most highly-anticipated Hollywood blockbusters (and would-be blockbusters) of this year's holiday season. The group convened to offer their thoughts on Steve McQueen's Blitz (3:25), Edward Berger's Conclave (17:00), Ridley Scott's Gladiator II (31:56), Halina Reijn's Babygirl (43:55), and Clint Eastwood's Juror #2 (55:53).

During the 2024 New York Film Festival, Film Comment's Devika Girish had the chance to chat with Julianne Moore, one of the great American actresses of the last three decades and more. She was at the festival for the premiere of The Room Next Door, the first English-language feature film by Pedro Almodóvar, which stars Moore as a writer in New York who reconnects with an old friend, now in the late stages of cancer, played by Tilda Swinton. The friend makes a strange request of Moore's character: to give her company in a house in upstate New York where she plans to take her own life using a euthanasia pill. Almodóvar's film unfolds like a chamber drama, honing in on the awkward but tender companionship of two women in an absurd and dark situation, as they try to figure out how to enjoy the day-to-day of their togetherness while anticipating death. The Room Next Door hinges on its lead performances, and Moore and Swinton rise to the task with luminous turns that imbue the beautifully designed, fantasy world of Almodovar's film with a rough-edged, piercing emotional realism. Devika's conversation with Moore delves into the challenge of inhabiting the unreal worlds of Almodóvar with realism, as well as Moore's relationship with Swinton, how she acts with her voice, and whether it's difficult to play a good person in the movies.

When Payal Kapadia won a historic Grand Prix at this year's Cannes Film Festival for her second feature, All We Imagine as Light (the first Indian film to play in competition at Cannes in 30 years), she paid homage to another Cannes prizewinner whose work has deeply influenced her: Miguel Gomes, whose Grand Tour won the award for Best Director. The resonances between their latest films go beyond Cannes laurels and directorial inspiration. All We Imagine as Light, which opens in American theaters this Friday, traces the stories of three women in present-day Mumbai, while Grand Tour follows a British colonial officer and his fiancée as they traipse across various East Asian cities in 1918—but both films are city symphonies that center love stories within broader political contexts and are driven by the pulsings of female desire. Last month at the New York Film Festival, Film Comment editor Devika Girish moderated a conversation with Kapadia and Gomes—both practitioners of artful docufiction—which touched on their influences, aspirations, and methods.

The films of Robert Kramer blend fiction and documentary modes to engage with, and expand on, traditions of militant political cinema and subjective essay filmmaking. A founding member of the New Left activist film collective Newsreel in 1967, Kramer devoted himself to the group's radical ethos, but he also began to make his own hermetic and probing fiction films—like The Edge (1967) and Ice (1969)—which turned the camera back onto the mostly white middle-class milieu of his comrades, posing thorny questions about the nature of political commitment. This process reached its peak with the sprawling, 3-hour plus Milestones (1975, co-directed with John Douglas), a vast mosaic featuring a cast of over 50 fellow travelers, union organizers, dropouts, Free Vermont commune dwellers, and more, all navigating the demands of their personal and political lives in the wake of the Vietnam War. At the end of '70s, Kramer decamped to France, where his films had been championed by critics like Serge Daney, and proceeded to work in a wide variety of contexts across Europe and beyond, making films like Guns (1980), Our Nazi (1984), Doc's Kingdom (1988), Route One/USA (1989), and Walk the Walk (1996).  Over the past several years, the French DVD company Re:Voir has been beautifully restoring and re-releasing his films, and Kramer, who passed away suddenly in 1999, is currently the subject of a major retrospective at the Viennale, running through the end of November. The retrospective is accompanied by a new book, Starting Places, published by the Austrian Film Museum, which reproduces a 1997 interview with Kramer by the French critic Bernard Eisenchitz alongside several essays written by Kramer himself. To mark the occasion, Film Comment's Clinton Krute and Michael Blair invited Erika Balsom and Benjamin Crais, two noted critics who each proudly own original Milestones posters, to discuss Kramer's life and work. A few short audio clips of Kramer talking about his films, sourced from the original 1997 interview tapes, are interspersed throughout the conversation, providing their own points of departure into this undersung filmmaker's richly heterogenous, and endlessly fascinating, body of work.   Special thanks to Volker Pantenburg. Show Notes: “The Traveller” by Benjamin Crais (Sidecar, 2023): https://newleftreview.org/sidecar/posts/the-traveller “Milestones” by Erika Balsom (4Columns, 2020): https://4columns.org/balsom-erika/milestones Serge Daney on Milestones and Route One/USA (originally published in Cahiers du cinéma, 1975 and 1989): https://sergedaney.blogspot.com/2019/06/the-aquarium-milestones.html; https://sergedaney.blogspot.com/2014/05/murmur-of-world.html  Robert Kramer: Notes de la forteresse (1967-1999) (edited by Cyril Béghin. Re:Voir, 2019):https://re-voir.com/shop/en/books/1101-robert-kramer-notes-de-la-forteresse-1967-1999.html

As the 62nd New York Film Festival drew to a close last weekend, it was once again time for Film Comment's Festival Report, our annual live overview of the NYFF that was. This year, the end-of-fest ritual took place in collaboration with the New York Film Critics Circle, which will celebrate its 90th anniversary in 2025. Devika and Clint were joined by NYFCC members Bilge Ebiri and Lovia Gyarkye for a spirited wrap-up analysis of the highlights and lowlights from the NYFF62 lineup. In front of a lively audience, the panel discussed and debated RaMell Ross's Nickel Boys, Brady Corbet's The Brutalist, Mike Leigh's Hard Truths, David Cronenberg's The Shrouds, Pedro Almodóvar's The Room Next Door, Payal Kapadia's All We Imagine as Light, Trương Minh Quý's Việt and Nam, and many more. The Questions: Favorite moment in an NYFF62 film? (4:25) Favorite performance? (19:30) Best film about a real person? (32:30) A film that you can't shake, for good or bad? (50:17)

Two films in this year's New York Film Festival lineup grapple beautifully with the challenge of narrating stories of collective movements without giving in to the allure of the heroic individual protagonist. John Hanson and Rob Nilsson's Revivals selection Northern Lights (1978) stages the founding of the Nonpartisan League in North Dakota—formed in the mid-1910s by farmers from that state—parallel to a tale of young love, using a dramatized approach to explore the tensions between personal desires and collective commitments. Made more than four decades later, Brett Story and Stephen Maing's documentary Union (2024)—featured in the festival's Spotlight section—takes on another chapter in the history of the American labor struggle: the 2022 unionization drive of the Amazon plant on Staten Island, and the challenges facing an autonomous movement that requires leadership but is rooted in democracy. Last Saturday, the two directorial pairs—Hanson and Nilsson, and Story and Maing—joined Film Comment Editors Devika Girish and Clinton Krute for a live panel discussion on their stylistically different but thematically connected works. In a thought-provoking conversation, they examined the practical, formal, and political considerations of making films about people power.

The films of Christopher Harris are haunting and cerebral in equal measure—blending the sensorial power of analog avant-garde cinema with a thoroughly researched and deeply felt engagement with African-American history. Starting in 2001 with the 16mm feature still/here, which was also his MFA thesis at the School of the Art Institute of Chicago, Harris has created a rich and versatile body of work that draws on the legacy of the slave trade, the present-day realities of racism and capitalism, and the construction and destruction of urban space. Last week in New York City, Harris celebrated a major career milestone—his latest shorts, Speaking in Tongues: Take One and b/w, screened as part of the 2024 Whitney Biennial, and a weeklong retrospective of his work kicked off at Anthology Film Archives. In the midst of these screenings and speaking engagements, Harris joined Film Comment editors Devika Girish and Clinton Krute to talk about the origins of his filmmaking in his youthful ambition to be musician, his interest in stillness and silence as structuring concepts, and why his work is always as fun as it is challenging and erudite.

This week, Film Comment is on the ground at the 2024 Toronto International Film Festival, which began on September 5 and runs through September 15. This year, as ever, the festival's lineup is full of buzzy titles, including new films from directors like Luca Guadagnino, Pedro Almodóvar, Athina Rachel Tsangari, Brady Corbet, Dea Kulumbegashvili, and more. For our fourth and final Podcast from the shores of Lake Ontario, critics David Schwartz, Saffron Maeve, and Robert Daniels join Film Comment editor Devika Girish to discuss shorts from the boundary-pushing Wavelengths programs (3:05), as well as Muhammed Hamdy's Perfumed with Mint (21:40), the final two installments of Wang Bing's Youth trilogy (27:57), and Luca Guadagnino's Queer (35:16). Catch up with all of our coverage of TIFF 2024 at filmcomment.com

This week, Film Comment is on the ground at the 2024 Toronto International Film Festival, which began on September 5 and runs through September 15. This year, as ever, the festival's lineup is full of buzzy titles, including premieres of new films from directors like Luca Guadagnino, Pedro Almodóvar, Athina Rachel Tsangari, Brady Corbet, Dea Kulumbegashvili, and more. For our third Podcast from the home of David Cronenberg, Drake, and the great Tim Hortons, Film Comment editor Devika Girish welcomes critics Adam Nayman and Beatrice Loayza to discuss some of the most anticipated films of this year's festival. Kicking things off, Adam, the noted Torontonian, gives a rundown on the Toronto-based movies at this year's edition (2:59) before the three critics move on to discuss Nicolás Pereda's Lázaro at Night (6:05), Jessica Sarah Rinland's Collective Monologue (12:32), Athina Rachel Tsangari's Harvest (22:09), Joshua Oppenheimer's The End (32:09), and Joseph Kahn's Ick (39:33). Catch up with all of our coverage of TIFF 2024 at filmcomment.com

This week, Film Comment is on the ground at the 2024 Toronto International Film Festival, which began on September 5 and runs through September 15. This year, as ever, the festival's lineup is full of buzzy titles, including premieres of new films from directors like Luca Guadagnino, Pedro Almodóvar, Athina Rachel Tsangari, Brady Corbet, Dea Kulumbegashvili, and more. For our second Podcast from the Great White North, Film Comment editor Devika Girish welcomes programmer and critic Madeline Whittle and critic Mark Asch to discuss Mike Leigh's Hard Truths (2:56), Kiyoshi Kurosawa's Cloud (19:24), Neo Sora's Happyend (28:09), and Pedro Almodóvar's The Room Next Door (40:10). Stay tuned throughout this week for more Podcasts, dispatches, and more from TIFF 2024.

This week, Film Comment is on the ground at the 2024 Toronto International Film Festival, which began on September 5 and runs through September 15. This year, as ever, the festival's lineup is full of buzzy titles, including premieres of new films from directors like Luca Guadagnino, Pedro Almodóvar, Athina Rachel Tsangari, Brady Corbet, Dea Kulumbegashvili, and more.  For our first Podcast from the land of maple syrup, hockey, and Guy Maddin, Film Comment editor Devika Girish welcomes critics Mark Asch and David Schwartz to discuss Gia Coppola's The Last Showgirl (3:23), Brady Corbert's The Brutalist (14:45), Raoul Peck's Ernest Cole: Lost and Found (26:45), John Crowley's We Live in Time (31:50), and Durga Chew-Bose's Bonjour Tristesse (40:01).  Stay tuned throughout this week for more Podcasts, dispatches, and more from TIFF 2024.

Last April, Film Comment invited writer Adam Shatz on the Podcast to talk about The Rebel's Clinic: The Revolutionary Lives of Frantz Fanon, his new biography of the Martinican writer, psychiatrist, and anti-colonial revolutionary. The Podcast explored Fanon's lasting impression on the world of cinema since his untimely death in 1961—and it became the basis for a four-day series of screenings and talks we presented last weekend, called The Rebel's Cinema—Frantz Fanon on Screen. The series took place at four cinemas across New York City, beginning at Film at Lincoln Center with Michelangelo Antonioni's The Passenger (1975), moving to Maysles Documentary Center in Harlem for Gillo Pontecorvo's Burn!, (1969), winding down to the Brooklyn Academy of Music for Ivan Dixon's The Spook Who Sat by the Door (1973), and finishing up at Anthology Film Archives with Sarah Maldoror's Monangambeee (1969) and Assia Djebar's The Zerda and the Songs of Forgetting (1982). Each screening was followed by a Q&A with special guests, which we're excited to share this week on the Podcast. For our fourth and final episode, Film Comment editor Devika Girish welcomes Adam and filmmaker and artist Madeleine Hunt-Ehrlich to discuss Maldoror's masterful 1969 directorial debut, Monagambeee, about a political prisoner in Portuguese-ruled Angola, as well as The Zerda and the Songs of Forgetting, novelist Djebar's 1982 archival elegy to the Algerian freedom struggle and women's place within it.

Last April, Film Comment invited writer Adam Shatz on the Podcast to talk about The Rebel's Clinic: The Revolutionary Lives of Frantz Fanon, his new biography of the Martinican writer, psychiatrist, and anti-colonial revolutionary. The Podcast explored Fanon's lasting impression on the world of cinema since his untimely death in 1961—and it became the basis for a four-day series of screenings and talks we presented last weekend, called The Rebel's Cinema—Frantz Fanon on Screen. The series took place at four cinemas across New York City, beginning at Film at Lincoln Center with Michelangelo Antonioni's The Passenger (1975), moving to Maysles Documentary Center in Harlem for Gillo Pontecorvo's Burn!, (1969), winding down to the Brooklyn Academy of Music for Ivan Dixon's The Spook Who Sat by the Door (1973), and finishing up at Anthology Film Archives with Sarah Maldoror's Monangambeee (1969) and Assia Djebar's The Zerda and the Songs of Forgetting (1982). Each screening was followed by a Q&A with special guests, which we're excited to share this week on the Podcast. On today's episode, Film Comment editor Devika Girish welcomes Adam, writer Clifford Thompson, and editor and organizer Cheryl Rivera about The Spook Who Sat by the Door, Ivan Dixon's explosive 1973 adaptation of the novel by Sam Greenlee about a black CIA agent who uses his specialized training to build a guerrilla revolutionary army.

Last April, Film Comment invited writer Adam Shatz on the Podcast to talk about The Rebel's Clinic: The Revolutionary Lives of Frantz Fanon, his new biography of the Martinican writer, psychiatrist, and anti-colonial revolutionary. The Podcast explored Fanon's lasting impression on the world of cinema since his untimely death in 1961—and it became the basis for a four-day series of screenings and talks we presented last weekend, called The Rebel's Cinema—Frantz Fanon on Screen. The series took place at four cinemas across New York City, beginning at Film at Lincoln Center with Michelangelo Antonioni's The Passenger (1975), moving to Maysles Documentary Center in Harlem for Gillo Pontecorvo's Burn!, (1969), winding down to the Brooklyn Academy of Music for Ivan Dixon's The Spook Who Sat by the Door (1973), and finishing up at Anthology Film Archives with Sarah Maldoror's Monangambeee (1969) and Assia Djebar's The Zerda and the Songs of Forgetting (1982). Each screening was followed by a Q&A with special guests, which we're excited to share this week on the Podcast. On today's episode, Film Comment editor Devika Girish welcomes Adam as well as Maysles executive director Kazembe Balagun and scholar and writer Brent Hayes Edwards to talk about the entanglements of race and class, and history and Hollywood in Pontecorvo's period epic Burn!, which stars Marlon Brando as a British agent provocateur who overthrows a Portuguese colony in the Caribbean by fomenting a slave revolt.

Last April, Film Comment invited writer Adam Shatz on the Podcast to talk about The Rebel's Clinic: The Revolutionary Lives of Frantz Fanon, his new biography of the Martinican writer, psychiatrist, and anti-colonial revolutionary. The Podcast explored Fanon's lasting impression on the world of cinema since his untimely death in 1961—and it became the basis for a four-day series of screenings and talks we presented last weekend, called The Rebel's Cinema—Frantz Fanon on Screen. The series took place at four cinemas across New York City, beginning at Film at Lincoln Center with Michelangelo Antonioni's The Passenger (1975), moving to Maysles Documentary Center in Harlem for Gillo Pontecorvo's Burn!, (1969), winding down to the Brooklyn Academy of Music for Ivan Dixon's The Spook Who Sat by the Door (1973), and finishing up at Anthology Film Archives with Sarah Maldoror's Monangambeee (1969) and Assia Djebar's The Zerda and the Songs of Forgetting (1982). Each screening was followed by a Q&A with special guests, which we're excited to share this week on the Podcast. On today's episode, Film Comment editors Devika Girish and Clinton Krute welcome Adam as well as critic and film editor Blair McClendon to discuss the Fanonian themes of alienation and objectivity in The Passenger, Antonioni's 1975 epic that stars Jack Nicholson as an American journalist who assumes the identity of a dead gunrunner caught up in a revolutionary conflict in Chad

As part of this year's Locarno Film Festival, scholars at the Università della Svizzera italiana organized a conference called Cinema Audiovisual Futures, with a series of panels and workshops exploring cinema's importance in constructing a new and alternative futures. As part of the conference, Film Comment editor Devika Girish moderated a panel with filmmaker Suneil Sanzgiri and writer and programmer Greg de Cuir called Digital Migrations. Their conversation delved into the ways in which digital media allows us to represent and respond to colonialism, diaspora, and violence, touching on Sanzgiri's films At Home But Not At Home (2019) and Golden Jubilee (2021), among others.

The Locarno Film Festival takes place every August in the Swiss town of Locarno, at the base of the Alps, with a robust mix of discovery titles, repertory selections, and premieres of films by major auteurs. Film Comment was on the ground this year, combing through the lineup for highlights, and this episode—featuring critics and curators Inney Prakash and Cici Peng in conversation with FC Editor Devika Girish—covers some of the notable titles: Kouté vwa (Listen to the Voices) by Maxime Jean-Baptiste, Fogo do vento (Fire of Wind) by Marta Mateus, Invention by Courtney Stephens, By the Stream by Hong Sangsoo, The Sparrow in the Chimney by Ramon Zürcher, and Youth (Hard Times) by Wang Bing.

For the third and final installment of our Summer Rep Report series, Sam Fleischner and Courtney Muller, the founding programmers of the Rockaway Film Festival, join Film Comment editor Devika Girish to discuss this year's edition, which runs from August 17 to 25. Launched in 2018 in the Queens, New York oceanside neighborhood, the festival draws upon the cultural history and environmental features of its location to offer a uniquely eclectic program that emphasizes the relationship between cinema and place. Courtney and Sam discuss the history of the festival and point out a few of this year's repertory highlights, including Edward Lachman's Report from Hollywood (1984), playing in a sparkling restoration at the festival; a wonderful retrospective program marking the centennial of pathbreaking animator Faith Hubley; the festival's closing night selection, Gabriel (1976), the only film completed by painter Agnes Martin; and more.

For Part 2 of our Summer Rep Report, film programmer Jessica Green joins to discuss Passing You By: Impostorism on Film, a new series she's programmed titled at the Brooklyn Academy of Music. The series opens today and runs through August 15 and focuses on movies that all explore the act of passing—be it for another race, gender, class, or nationality.  Film Comment editors Clinton Krute and Devika Girish spoke with Jessica about some of the highlights from the lineup, including Rebecca Hall's Passing (2021), which adapts Nella Larsen's 1920s novel of the same name; Oscar Micheaux's silent-cinema classic, The Symbol of the Unconquered (1920), which was made in response to The Birth of a Nation (1915) and now features a score recorded by Max Roach; Omar (2013), a Palestinian film by director Hany-Abu Assad; as well as some lighter, yet thematically rich fare, like White Chicks (2004) and Coming to America (1988).

Early August is usually something of a lull in the film calendar, but this year, at least in New York City, it's proved to be a goldmine—particularly for repertory programming. We had planned to record a single episode of our Rep Report series this week, but there was so much good stuff out there that we ended up recording three different conversations about three different programs, which we'll be sharing over the next few days. Stay tuned!  On today's episode, Jed Rapfogel, film programmer at Anthology Film Archives, joins Film Comment editors Devika Girish and Clinton Krute to discuss Verbatim, a new film series he's put together at the famed New York City theater. Verbatim features an exciting and wide-ranging lineup of titles, spanning features, shorts, experimental films, and made-for-TV titles that are all united by one theme: each of them makes verbatim use of a real-life transcript—be it a court document, a journalistic interview, a letter, or something else. Jed, Clint, and Devika share some of the highlights of the series, including James N. Kienitz Wilkins's Public Hearing (2012), which uses the transcript of a municipal town-hall about the expansion of a Walmart, James Benning's Landscape Suicide (1986), which recreates interviews with a pair of killers, and Elisabeth Subrin's short film, Maria Schneider, 1983 (2022), which offers three different riffs on an archival television interview with the titular actress. Verbatim runs at Anthology Film Archives through August 13. For interested viewers outside of New York City, check out filmcomment.com for streaming links to some of the featured films.