All articles by Nick James

Azor follows a quiet Swiss banker through Argentina’s dirty war

Introduction bridges the generational gap in Hong Sangsoo’s typical style

In memory of Jean-Claude Carrière: the late screenwriter in conversation

Ronnie’s: Ronnie Scott & his World Famous Jazz Club rhapsodises Soho in blue

Twenty-first century noir

The female gaze: 100 overlooked films directed by women

About Endlessness first look: Roy Andersson rises above his customary absurdism

Forgotten treasures of the multiplex

A tribute to the late Sue Bruce-Smith

How we made the Greatest Films of All Time poll

Nine discoveries from the 2020 Berlinale

First Cow: Kelly Reichardt’s milk-rustling western rises like a treat

First Cow review: Kelly Reichardt’s milk-rustling western rises like a treat

Malmkrog review: Cristi Puiu convenes a big-house philosophical pile-on

At home with the Kubricks: “Stanley was amazingly tolerant in taking the most extraordinary abuse”

About Endlessness review: Roy Andersson rises above his customary absurdism

Seberg review: a breathless biopic of a star with a complex life

Reheating Heat: Blake Howard on his marathon movie podcast One Heat Minute

A farewell from our editor Nick James

What should have won the 2019 Cannes Palme d’Or?

Genre and disorder at Cannes 2019: a midway round-up

A Hidden Life first look: Terrence Malick floats over the storm clouds of war

Joan of Arc first look: Bruno Dumont makes a trial of it

Pain and Glory first look: Pedro Almodóvar’s self-portrait of the artist as addict

Cannes 2019 begins

Lost at the last: the 2019 Oscars plucked bathos from the jaws of reputability

So Long, My Son first look: brooding around the decades of China’s one-child policy

Mr. Jones first look: Agnieszka Holland reprises the exposé of Stalin’s Ukrainian genocide