Jacques Rivette's editorial replacement of Rohmer in 1963 was a shift to political and social concerns and in paying more attention to non-Hollywood films. The style moved through literary modernism in the early 1960s to radicalism and dialectical materialism by 1970. Moreover, during the mid-1970s the magazine was run by a Maoist editorial collective. In the mid-1970s, a review of the movie Jaws marked the magazine's return to more commercial perspectives, and an editorial turnover: (Serge Daney, Serge Toubiana, Thierry Jousse, Antoine de Baecque, and Charles Tesson). It led to the rehabilitation of some of the old Cahiers favourites, as well as some new names like Manoel de Oliveira, Raoul Ruiz, Hou Hsiao-Hsien, Youssef Chahine, and Maurice Pialat. Recent writers have included Serge Daney, Serge Toubiana, Thierry Jousse, Antoine de Baecque, Vincent Ostria, Charles Tesson and Franck Nouchi, André Téchiné, Léos Carax, Olivier Assayas, Danièle Dubroux, and Serge Le Péron.
In 1998, the Editions de l'Etoile (the company publishing Cahiers) was acquired by the press group Le Monde. Traditionally losing money, the magazine attempted a make-over in 1999 to gain new readers, leading to a first split among writers and resulting in a magazine addressing all visual arts in a post-modernist approach. This version of the magazine printed ill-received opinion pieces on reality TV or video games that confused the traditional readership of the magazine.
Due to poor results of the new version of Cahiers, Le Monde took full editorial control of the magazine in 2003. The then editor-in-chief of "Le Monde" film pages, Jean-Michel Frodon became editor-in-chief of Les Cahiers and put together a new writers team which is currently in charge of the magazine.
In April 2008, Le Monde announced its intention to sell "non-profitable or non-strategic" activities, including the Editions de l'Etoile which publishes Cahiers du cinéma.