Sight and Sound

The new issue of Sight and Sound

On the cover: award-winning director Christiopher Nolan on The Odyssey, oral tradition and Imax. Inside: tributes to Tony Rayns and Sam Neil, a look back on Chantal Akerman and Martin Scorsese’s New York, Gary Owen on bringing Effi O Blaenau to the screen, Pedro Almodóvar on Bitter Christmas, Maite Alberdi on A Child of My Own and we return to our Winter 1970/71 interview with Claude Chabrol.

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Sight and Sound presents the auteur series: Chantal Akerman

In a new edition of the series celebrating the work of the greatest auteur directors in history, we delve into our archives to revisit the radical cinema of Chantal Akerman, whose film Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles, was voted Greatest of All Time in 2022.

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From the Sight and Sound archive

“It earns every hair it stiffens”: Alejandro Amenábar’s The Others

25 years ago, The Others chilled audiences with its creeping unease and haunted house horrors. The devil is in the details of Alejandro Amenábar’s Turn of the Screw-style story, argued Nick James in our November 2001 issue.

By Nick James

“It earns every hair it stiffens”: Alejandro Amenábar’s The Others
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The Greatest Films of All Time

Once a decade Sight and Sound asks critics to select the best films ever made. Find out the results of our largest ever poll.

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The Weekly Film Bulletin

Sign up below for a free extra helping of Sight and Sound, keeping you in touch with the latest film news, reviews and features from our archive.

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From our archives

From the Sight and Sound archive

“It earns every hair it stiffens”: Alejandro Amenábar’s The Others

25 years ago, The Others chilled audiences with its creeping unease and haunted house horrors. The devil is in the details of Alejandro Amenábar’s Turn of the Screw-style story, argued Nick James in our November 2001 issue.

By Nick James

“It earns every hair it stiffens”: Alejandro Amenábar’s The Others
See more articles

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