Film Comment Magazine
@FilmComment
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Arts & culture mag from @filmlinc. Since 1962. Reviews and in-depth analysis of mainstream, art-house & avant-garde film.
NYC
Joined May 2009
Stay tuned tomorrow for our contributors’ Individual Ballots, featuring selections from the 125 critics who contributed to the poll, as well as our Best of 2025 Countdown Podcast, with @BilgeEbiri and @AmyOrNot.
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🏆The results are in! 🏆 Read our full Top 20 Films of 2025 as well as our Top 10 Undistributed Films of 2025 lists, all with original appreciations by our contributors here: https://t.co/H3WeFblr5n
filmcomment.com
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Those claiming that the movie reduces its characters to caricature misread what it anatomizes. The film’s paranoia-driven action sequences illustrate not ideology but the infrastructure of allegiance—the signals, lingo, & solidarity that sustain any embattled collective.—Abby Sun
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“To say it’s anti-genre is not enough; it’s a wildly original take on a type rarely seen on screen because the interest is in absence rather than presence. THE MASTERMIND is a comic-horror story of a man who’s an utter vacuum, incapable of self-knowledge or change.”—Molly Haskell
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“Leave it to Kleber Mendonça Filho, a filmmaker for whom cinema feels as essential as breathing, to craft a political thriller that is equally steeped in the techniques of its classic-movie inspirations and the everyday atmospheres and textures of 1970s Brazil.” —Michael Blair
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“Panahi’s road movie reminded me of The Mousetrap, the play that Hamlet commissions to prove that his uncle is guilty of murder. ‘Comical-tragical’ is the desired effect of The Mousetrap, and it is a perfect genre designation for IT WAS JUST AN ACCIDENT.” —Amy Taubin
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“The film ends in a way… I just sat there weeping, I was so knocked out.” —Amy Taubin on CAUGHT BY THE TIDES
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“The film unfolds during China’s 21st-century economic transformation. But heaven is high & the emperor is far away: Jia is concerned with what happens on the ever-shifting ground, the propulsive movements of people, & the expressions that flit across Zhao’s face.” —Genevieve Yue
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“The line between man and beast, the film suggests, is as flimsy as the ripped white spandex, soaked in both human and bull’s blood, that Andrés Roca Rey tears off after another grimly triumphant corrida.” —Clinton Krute
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“It’s such a spare movie in a way, yet it also shifts through so many different modes. And it ends in a perfect way.” —@BilgeEbiri on MISERICORDIA
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“The film stands out in Guiraudie’s body of work for its masterful mélange of moods and genres, shifting between farce and philosophy with the elegant fickleness of autumn leaves tossing in the breeze.” —Beatrice Loayza
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“Harking back to hippie-era quest movies like 1972’s The Valley (Obscured by Clouds), SIRĀT—which demands to be seen on a big screen, with a sound system to match—is the proverbial trip, but louder and more explosive than any they made back then.” —Jonathan Romney
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“A lot of movies this year fussed over The Way We Live Now, but it was THE SHROUDS that nailed our free fall into a vortex of endless content & the political delirium of a culture that fails to grasp how the medium is the message.” —Nathan Lee
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The group shares their differing opinions to Mary Bronstein’s second feature. Be sure to tune into the Film Comment Podcast to listen to the full discussion.
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For this viewer, the daughter of a mother, If I Had Legs I’d Kick You unfolded with the gut-wrenching intensity of autobiography: it conjured memories of witnessing, with front-row access, my own amma undergoing the impostor syndrome so specific to mothers.—Devika Girish
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👀… Kicking off our Film Comment Live Best of 2025 countdown now with Amy Taubin and @BilgeEbiri now
🚨 On Thursday, December 11, join @FilmComment for its annual overview of the high points of contemporary film culture as editors @devikagirgayi and Clinton Krute, along with critics @AmyOrNot and @BilgeEbiri, lead a real-time countdown of the results of Film Comment’s year-end
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