All articles by Josh Slater-Williams
Martyrs Lane invites an angelic, ghostly child into a family home
British writer-director Ruth Platt’s vicarage-set return to horror deals in body horror and emotional power rather than set piece shocks.
By Josh Slater-Williams
Wildfire: Cathy Brady and Nora-Jane Noone on their Irish border drama
By Josh Slater-Williams
10 to see at the Edinburgh Film Festival 2021
By Josh Slater-Williams
10 great debut films by music video directors
By Josh Slater-Williams
10 things to watch at the Glasgow Film Festival 2020
By Josh Slater-Williams
A year of lockdown: the screen culture that got us through it
By Henry Barnes, Whelan Barzey and others
What to watch at the Glasgow Film Festival 2021
By Josh Slater-Williams
Where to stream the best Scottish films
By Josh Slater-Williams
I can remember it for you wholesale: The making of Total Recall, 30 years on
By Josh Slater-Williams
“I used the cinema to learn about the world” – Daphne director Peter Mackie Burns on making his second film, Rialto
By Josh Slater-Williams
She Dies Tomorrow: Amy Seimetz on her timely contagion film
By Josh Slater-Williams
GFF20 vs. COVID-19: four takeaways from Glasgow Film Festival 2020
By Josh Slater-Williams
5 Bruce Springsteen songs and how they influenced my drag-racing drama Run
By Josh Slater-Williams
Five Bruce Springsteen songs and how they influenced my drag-racing drama Run
By Josh Slater-Williams
10 things to watch at the Glasgow Film Festival 2020
By Josh Slater-Williams
Atom Egoyan: How we made Exotica – 25th anniversary
By Josh Slater-Williams
Judy & Punch: Mirrah Foulkes gives the puppet-show a 21st-century twist
By Josh Slater-Williams
Ad Astra director James Gray’s American masterpiece... and why UK audiences never saw it
By Josh Slater-Williams
Between London, Lagos and Lincolnshire: Shola Amoo on The Last Tree
By Josh Slater-Williams
A Girl Missing review: Koji Fukada examines the complexities of guilt
By Josh Slater-Williams
Sophie Hyde on Animals: ‘We don’t just come of age once and then we’re adults forever. We keep coming of age.’
By Josh Slater-Williams
The bitter and the sweet: British features at Edinburgh 2019
By Josh Slater-Williams
William McGregor on the ‘slow burn, anti-capitalist folk horror’ of Gwen
By Josh Slater-Williams
10 to see at the 2019 Edinburgh International Film Festival
By Josh Slater-Williams
Dirty God: ‘I saw a young burn survivor and flinched. Everybody around her did the same’
By Josh Slater-Williams
Dirty God: ‘I saw a young burn survivor and flinched. Everybody around her did the same’
By Josh Slater-Williams