Sundance 2026 #2, with Madeline Whittle and Will Tavlin

It's late January, and the intrepid Film Comment crew has been on the ground reporting from an extra special edition of the Sundance Film Festival—the last to take place on the snowy slopes of Park City, Utah, the festival's home since 1981, before moving to Boulder, Colorado in 2027. For the past week, we’ve gathered the best critics on the scene to talk about each day’s premieres on the Podcast. For our final Podcast from Sundance 2026, critics Bilge Ebiri and Tim Grierson and programmer Madeline Whittle joined Film Comment Editor Devika Girish to close out the fest, discussing Padraic McKinley's The Weight (2:56), Noah Segan's The Only Living Pickpocket in New York (24:26), Dawn Porter's When a Witness Recants (28:46), Jason Osder and William Lafi Youmans's Who Killed Alex Odeh? (34:34), Josephine Decker's Chasing Summer (47:20), Walter Thompson-Hernández's If I Go Will They Miss Me? (1:05:46), Hossein Keshavarz and Maryam Ataei The Friend's House Is Here (1:10:28), Rafael Manuel's Filipiñana (1:14:05), and more. Catch up on all of our Sundance 2026 coverage at filmcomment.com

It's late January, and the intrepid Film Comment crew is on the ground reporting from an extra special edition of the Sundance Film Festival—the last to take place on the snowy slopes of Park City, Utah, the festival's home since 1981, before moving to Boulder, Colorado in 2027. For the next week, we’ll be gathering the best critics on the scene to talk about each day’s premieres on the Podcast. For our fourth Podcast from the fest, critics Robert Daniels, Will Tavlin, and Natalia Winkelman joined Film Comment Editor Devika Girish to discuss William Greaves and David Greaves’s Once Upon a Time in Harlem (2:15), Michał Marczak’s Closure (22:30), Adam Meeks's Union County (31:03), and Kogonada's zi (41:35). Catch up on all of our Sundance 2026 coverage at filmcomment.com

It's late January, and the intrepid Film Comment crew is on the ground reporting from an extra special edition of the Sundance Film Festival—the last to take place on the snowy slopes of Park City, Utah, the festival's home since 1981, before moving to Boulder, Colorado in 2027. For the next week, we’ll be gathering the best critics on the scene to talk about each day’s premieres on the Podcast. For our third Podcast from the fest, Film Comment Editor Devika Girish invited critics and FC Podcast veterans Tim Grierson, Robert Daniels, and Monica Castillo to discuss some of this year’s buzziest premieres to date, including Cathy Yan’s art world–satire The Gallerist (3:00), Gregg Araki’s erotic romp I Want Your Sex (20:15), and Olivia Wilde’s couples' night dramedy The Invite (31:45, 42:40). Catch up on all of our Sundance 2026 coverage at filmcomment.com

It's late January, and the intrepid Film Comment crew is on the ground reporting from an extra special edition of the Sundance Film Festival—the last to take place on the snowy slopes of Park City, Utah, the festival's home since 1981, before moving to Boulder, Colorado in 2027. For the next week, we’ll be gathering the best critics on the scene to talk about each day’s premieres on the Podcast. For our second Podcast from the fest, Film Comment Editor Devika Girish sat down with programmer Madeline Whittle (Film at Lincoln Center) and critic Will Tavlin (n+1) to discuss Adam and Zack Khalil's Aanikoobijigan [ancestor/great-grandparent/great-grandchild] (1:54), John Wilson’s The History of Concrete (14:05), and Gabriela Osio Vanden and Jack Weisman's Nuisance Bear (28:11). Catch up on all of our Sundance 2026 coverage at filmcomment.com

It's late January, and the intrepid Film Comment crew is on the ground reporting from an extra special edition of the Sundance Film Festival—the last to take place on the snowy slopes of Park City, Utah, the festival's home since 1981, before moving to Boulder, Colorado in 2027. For the next week, 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 invited programmer Madeline Whittle (Film at Lincoln Center) as well as critics Robert Daniels (RogerEbert.com) and Will Tavlin (n+1) to share their responses to the films premiering during the first few days of the fest. The group discusses the tongue-in-cheek Charli XCX mockumentary The Moment (3:30), Casper Kelly's dark comedy Buddy (20:15), and Beth de Araujo’s sophomore feature Josephine (29:50). Stay tuned for more of our Sundance 2026 coverage.

Every January, as we ring in the new year, we take a moment to take a look at some of the major new releases of the holiday season. This year, Film Comment Editors Devika Girish and Clinton Krute invited critics Beatrice Loayza and Mark Asch to focus on a select handful of titles that have recently graced the marquees of multiplexes, and which continue to stir up discourse. The group kicks things off with a deep dive into James Cameron’s latest 3D space opera, Avatar: Fire and Ash (4:00), before turning their attention to another epic, Josh Safdie’s Marty Supreme (33:34)—which both Beatrice and Mark have written great essays on in recent weeks. They also touch on James L. Brooks’s Ella McCay (51:15), which Mark reviewed for Film Comment just last week.

On December 11, 2025, as part our annual winter list extravaganza, Film Comment Editors Devika Girish and Clinton Krute were joined by esteemed critics Amy Taubin and Bilge Ebiri for a 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 available 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, here: https://www.filmcomment.com/best-films-of-2025/

This week’s Podcast features an in-depth interview with Brazilian filmmaker Kleber Mendonça Filho, whose latest feature, The Secret Agent, is in select theaters now. The film was a highlight of both this year’s Cannes, where Mendonça won the Best Director prize, and this fall’s New York Film Festival. The Secret Agent is set, like many of the director’s films, in his Northeastern Brazilian hometown of Recife, in 1977—“a time of mischief,” as a title card tells us early on. Wagner Moura (Cannes Best Actor winner) plays Marcelo, a man on the run from powerful forces connected to the ruling military dictatorship, seeking refuge and possible safe passage out of the country with a ragtag group of dissidents and political exiles. The Secret Agent is an endlessly inventive, lively, and frightening excavation of the specifics of past and place. And like the filmmaker’s recent work, including the scathing genre hybrid Bacurau (2019, co-directed by Juliano Dornelles) and the autobiographical documentary Pictures of Ghosts (2023), it’s in thrall to the history and possibilities of cinema. Film Comment Editors Devika Girish and Clinton Krute spoke to Mendonça about the film, his tendencies to set his stories in familiar locales, his fascination with recording technology and voices out of the past, and how he managed to blend fantasy and humor into this chilling political thriller.

This week, Film Comment Editors Devika Girish and Clinton Krute sit down with writer-director Noah Baumbach, whose new feature, Jay Kelly, is in select theaters now. The movie stars George Clooney as an aging Hollywood star reckoning with the choices he’s made on his way to the top. The action unfolds on a trip Jay takes to a tribute to his career in Tuscany, trailed by an entourage of handlers (played by Adam Sandler, Laura Dern, and others), and haunted by his missteps as a friend, lover, and parent. Jay Kelly blends Fellini-esque memory theater, a screwball-inspired train journey, and a self-reflexive contemplation on the world of filmmaking to arrive at something universal; as Noah says in our conversation, the theme at the heart of the film is one that has animated many of his works: coming to terms with an irretrievable past. We also talked about his remarkable casting choices, how he and his crew built sets to facilitate the dreamlike flashback sequences without the use of CGI, and much more.

Last week, Devika returned from the Tokyo International Film Festival, which ran from October 27 to November 5 in the Japanese capital. As one of the major festivals in Asia, the event is a great showcase for new and restored films from the region, as well as Japanese specialities like animation. While there, Devika recorded three Podcasts exploring the lineup with a stellar rotation of guests. On our third and final Podcast from the festival, programmer, translator, and producer Aiko Masubuchi shares her thoughts on three Japanese titles. The first, Yama: Attack to Attack, a documentary from 1985, was screened outside of the festival; the latter two, Lost Land and In Their Traces, were highlights of its Nippon Cinema Now section.