From the Sight and Sound archive
“It’s no good showing things as they are – people wouldn’t believe them”: Alfred Hitchcock on To Catch a Thief
After To Catch a Thief's London premiere 70 years ago, Alfred Hitchcock spoke with Catherine de la Roche about melodrama, thrillers and critical responses to his work. From our Winter 1955-6 issue.
From the Sight and Sound archive
A child’s demon: Robert Mitchum in The Night of the Hunter
A child’s demon: Robert Mitchum in The Night of the HunterFrom the Sight and Sound archive
Slaughterhouse blues: Charles Burnett on Killer of Sheep
By Armond White and Alex Cox
From the Sight and Sound archive
“Films constitute a valuable historical document”: Ernest Lindgren on the founding of the National Film Library
“Films constitute a valuable historical document”: Ernest Lindgren on the founding of the National Film LibraryFrom the Sight and Sound archive
Record of War: a provocative pairing of propaganda films
Record of War: a provocative pairing of propaganda filmsFrom the Sight and Sound archive
Refuseniks: Agnès Varda on The Gleaners and I
Refuseniks: Agnès Varda on The Gleaners and IFrom the Sight and Sound archive
“A piece of punk-rock movie-making”: 28 Days Later reviewed in 2002
“A piece of punk-rock movie-making”: 28 Days Later reviewed in 2002From the Sight and Sound archive
“Offers more hope than any other British film of the 1980s so far”: Local Hero reviewed in 1983
“Offers more hope than any other British film of the 1980s so far”: Local Hero reviewed in 1983From the Sight and Sound archive
“One thing this endlessly prurient film never shows is female sexual pleasure”: Showgirls reviewed in 1996
“One thing this endlessly prurient film never shows is female sexual pleasure”: Showgirls reviewed in 1996 From the Sight and Sound archive
“I’m telling the story of me... it might set a trend”: George Lucas on the set of Star Wars
“I’m telling the story of me... it might set a trend”: George Lucas on the set of Star WarsFrom the Sight and Sound archive
“We need to proceed with great caution”: Natasha Lyonne on AI and the Sag-Aftra strike
“We need to proceed with great caution”: Natasha Lyonne on AI and the Sag-Aftra strikeFrom the Sight and Sound archive
Mission: Impossible – a popcorn movie to take seriously
Mission: Impossible – a popcorn movie to take seriouslyFrom the Sight and Sound archive
Mai Zetterling: some notes on acting
Mai Zetterling: some notes on actingFrom the Sight and Sound archive
“Godard’s best film”: Alphaville turns 60
“Godard’s best film”: Alphaville turns 60From the Sight and Sound archive
Marital arts: Pride & Prejudice reviewed in 2005
Marital arts: Pride & Prejudice reviewed in 2005From the Sight and Sound archive
Julie Christie, the honey-glow girl
Julie Christie, the honey-glow girlFrom the Sight and Sound archive
Muriel’s Wedding: the greatest film of all time?
Muriel’s Wedding: the greatest film of all time?From the Sight and Sound archive
Build my gallows high: Joshua Oppenheimer on The Act of Killing
Build my gallows high: Joshua Oppenheimer on The Act of KillingFrom the Sight and Sound archive
Learning to scream: Linda Williams on Psycho
Learning to scream: Linda Williams on PsychoFrom the Sight and Sound archive
Erin Brockovich, a law unto herself
Erin Brockovich, a law unto herselfFrom the Sight and Sound archive
Souleymane Cissé’s Yeelen reviewed in 1988
Souleymane Cissé’s Yeelen reviewed in 1988From the Sight and Sound archive
The sprawling brilliance of Robert Altman’s Nashville
The sprawling brilliance of Robert Altman’s NashvilleFrom the Sight and Sound archive
“Funny, engaging and winning in its self-deprecating modesty”: Bridget Jones’s Diary reviewed in 2001
“Funny, engaging and winning in its self-deprecating modesty”: Bridget Jones’s Diary reviewed in 2001 From the Sight and Sound archive
“American audiences’ greater education seems to have evaporated”: Jack Nicholson interviewed in 1974
“American audiences’ greater education seems to have evaporated”: Jack Nicholson interviewed in 1974From the Sight and Sound archive
“The film’s charm lies in the balance between poetry and the everyday”: Before Sunrise reviewed in 1995
“The film’s charm lies in the balance between poetry and the everyday”: Before Sunrise reviewed in 1995From the Sight and Sound archive
Chantal Akerman: a primer
By Cristina Álvarez López and Adrian Martin
From the Sight and Sound archive
“Rearrange their faces and give them all another name”: on Bob Dylan and I’m Not There
“Rearrange their faces and give them all another name”: on Bob Dylan and I’m Not ThereFrom the Sight and Sound archive
Viola Davis: over the fences
Viola Davis: over the fencesFrom the Sight and Sound archive
New York letter: Towards a spontaneous cinema
New York letter: Towards a spontaneous cinemaFrom the Sight and Sound archive
Ian McEwan on collaborating with Richard Eyre for The Ploughman’s Lunch
Ian McEwan on collaborating with Richard Eyre for The Ploughman’s Lunch