Founded in 1962, Film Comment has been the home of independent film journalism for over 50 years, publishing in-depth interviews, critical analysis, and feature...
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
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Sundance 2025 #3, with Lovia Gyarkye, Alana Pockros, and Lisa Wong Macabasco
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
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54:57
Sundance 2025 #2, with Robert Daniels and Tim Grierson
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
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47:32
Sundance 2025 #1, with Maddie Whittle, Ruun Nuur, and Vadim Rizov
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!
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Robert Eggers on Nosferatu
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.”
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Founded in 1962, Film Comment has been the home of independent film journalism for over 50 years, publishing in-depth interviews, critical analysis, and feature coverage of mainstream, art-house, and avant-garde filmmaking from around the world. The Film Comment Podcast, hosted by editors Devika Girish and Clinton Krute, is a weekly space for critical conversation about film, with a look at topical issues, new releases, and the big picture. Film Comment is a nonprofit publication that relies on the support of readers. Support film culture. Support Film Comment.
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