The Film Comment Podcast

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.

The guest on this week’s episode will need little introduction to anyone who reads film criticism or follows film culture. Jonathan Rosenbaum, one of the most prolific and respected critics of the last half-century, began his career at publications like Film Comment and Sight and Sound in the ’70s, and later became known for his writing at The Chicago Reader. More recently, he’s gained notice for his website, jonathanrosenbaum.net. He is known for his erudite yet accessible writing, and his championing of international cinema, among other things. No less a figure than Jean-Luc Godard once compared him to Andre Bazin. Jonathan is also the author of numerous books and collections of film writing, the latest of which, In Dreams Begin Responsibilities, has just been published by Hat & Beard Press. He describes the career-spanning, chronologically arranged collection as an autobiography of sorts, opening with his earliest published film review from his college days at Bard, before diverging into his many non-film interests. The collection also includes his writings on jazz and literature, and emphasizes Jonathan’s uniquely syncretic approach to criticism. Jonathan joined FC editors Devika Girish and Clinton Krute via Zoom from his home in Chicago to discuss this new book, his time as Film Comment’s Paris correspondent, his appearance as an extra in a Bresson film, and much, much more.