From the Sight and Sound archive
George Orwell, film critic
In the 26 film reviews written by Orwell during World War II, the novelist’s analysis was more politically than cinematically minded. From our Autumn 1979 issue.
From the Sight and Sound archive
Moulin Rouge: “the artiest film ever predicated as a summer blockbuster”
Moulin Rouge: “the artiest film ever predicated as a summer blockbuster”From the Sight and Sound archive
The Man Who Fell to Earth: humanity, lost and found
The Man Who Fell to Earth: humanity, lost and foundFrom the Sight and Sound archive
“I am not afraid of anything”: Andrzej Wajda interviewed in 2008
By Michael Brooke and Kamila Kuc
From the Sight and Sound archive
“Two virtuosos on a collision course”: Lars von Trier and Björk made art in his anti-musical, Dancer in the Dark (2000)
“Two virtuosos on a collision course”: Lars von Trier and Björk made art in his anti-musical, Dancer in the Dark (2000) From the Sight and Sound archive
“When you stop shooting, that’s when the best thing is going to happen. You have to persevere”: an interview with Frederick Wiseman
“When you stop shooting, that’s when the best thing is going to happen. You have to persevere”: an interview with Frederick WisemanFrom the Sight and Sound archive
“Until you see someone like you doing something, you can never imagine yourself doing it”: Spike Lee on Malcolm X, role models and the press
“Until you see someone like you doing something, you can never imagine yourself doing it”: Spike Lee on Malcolm X, role models and the pressFrom the Sight and Sound archive
Heights of fashion: Wuthering Heights on screen, from Wyler to MTV
Heights of fashion: Wuthering Heights on screen, from Wyler to MTVFrom the Sight and Sound archive
Keeper of the Flame: an exploration of “German cinema’s greatest marginal figure”, Werner Schroeter
Keeper of the Flame: an exploration of “German cinema’s greatest marginal figure”, Werner SchroeterFrom the Sight and Sound archive
The greatest love stories ever re-told? The legacy of the Brontë sisters on screen
The greatest love stories ever re-told? The legacy of the Brontë sisters on screenFrom the Sight and Sound archive
“To some the most impressive thing De Sica has yet done”: Miracle in Milan reviewed in 1951
“To some the most impressive thing De Sica has yet done”: Miracle in Milan reviewed in 1951From the Sight and Sound archive
Views of the New Wave: Godard and Rohmer’s first features
Views of the New Wave: Godard and Rohmer’s first featuresFrom the Sight and Sound archive
Trimming Tolkien: on the faithfulness of Peter Jackson’s The Lord of the Rings
Trimming Tolkien: on the faithfulness of Peter Jackson’s The Lord of the RingsFrom the Sight and Sound archive
“I have a responsibility to be provocative in my films”: Rosa von Praunheim’s activist cinema
“I have a responsibility to be provocative in my films”: Rosa von Praunheim’s activist cinemaFrom the Sight and Sound archive
“This is definitely a closing movie because I collected everything”: Béla Tarr on his final film, The Turin Horse
“This is definitely a closing movie because I collected everything”: Béla Tarr on his final film, The Turin HorseFrom the Sight and Sound archive
“Rob Reiner directs with sympathy for both main characters”: When Harry Met Sally reviewed in 1989
“Rob Reiner directs with sympathy for both main characters”: When Harry Met Sally reviewed in 1989From the Sight and Sound archive
An extraordinary film about ordinary people: L’Atalante reviewed in 1951
An extraordinary film about ordinary people: L’Atalante reviewed in 1951From the Sight and Sound archive
Calling the shots: Secretary reviewed in 2003
Calling the shots: Secretary reviewed in 2003From the Sight and Sound archive
“I want a formally perfect film”: Pier Paolo Pasolini on the making of Salò
“I want a formally perfect film”: Pier Paolo Pasolini on the making of SalòFrom the Sight and Sound archive
Loosening the knot: on the set of Zhang Yimou’s To Live
Loosening the knot: on the set of Zhang Yimou’s To LiveFrom the Sight and Sound archive
Escape artist: Lynne Ramsay’s Morvern Callar
Escape artist: Lynne Ramsay’s Morvern CallarFrom the Sight and Sound archive
“It’s alive!”: the gothic tradition’s enduring legacy on screen
“It’s alive!”: the gothic tradition’s enduring legacy on screenFrom the Sight and Sound archive
The House of Mirth: a Wharton adaptation that rivals Scorsese’s
The House of Mirth: a Wharton adaptation that rivals Scorsese’sFrom the Sight and Sound archive
Perfect Blue: Kon Satoshi’s twisted pop dream
Perfect Blue: Kon Satoshi’s twisted pop dreamFrom the Sight and Sound archive
Midnight madness: The Rocky Horror Picture Cult
Midnight madness: The Rocky Horror Picture CultFrom the Sight and Sound archive
“It was dance as action rather than as aesthetics”: Stephen Daldry on Billy Elliot
“It was dance as action rather than as aesthetics”: Stephen Daldry on Billy ElliotFrom the Sight and Sound archive
Robert Redford: act natural
Robert Redford: act naturalFrom the Sight and Sound archive
“Consistently convincing, generally hilarious”: This Is Spinal Tap reviewed in 1984
“Consistently convincing, generally hilarious”: This Is Spinal Tap reviewed in 1984From the Sight and Sound archive
Dead of Night: 80 years on, Ealing’s anthology horror is still a waking nightmare
Dead of Night: 80 years on, Ealing’s anthology horror is still a waking nightmareFrom the Sight and Sound archive
“The bleakest portrait of a marriage since Bergman”: The War of the Roses reviewed in 1989
“The bleakest portrait of a marriage since Bergman”: The War of the Roses reviewed in 1989