From the Sight and Sound archive
The ending of The Ballad of Narayama
Death is not the end in Imamura Shôhei’s bleak tale of a village community’s struggle for survival, just another stage in the cycle of life
From the Sight and Sound archive
“I'm proud of being me”: Maggie Cheung, from As Tears Go By to Irma Vep
“I'm proud of being me”: Maggie Cheung, from As Tears Go By to Irma VepFrom the Sight and Sound archive
“We will never see that Hollywood again”: Bette Davis, grande dame of cinema
“We will never see that Hollywood again”: Bette Davis, grande dame of cinemaFrom the Sight and Sound archive
Alain Robbe-Grillet: “Imagination, if it's vivid enough, is always in the present tense”
Alain Robbe-Grillet: “Imagination, if it's vivid enough, is always in the present tense”From the Sight and Sound archive
Two previews: Au hasard Balthazar and Masculin Féminin
Two previews: Au hasard Balthazar and Masculin FémininFrom the Sight and Sound archive
Gena Rowlands: performance from the inside out
Gena Rowlands: performance from the inside outFrom the Sight and Sound archive
Alfred Hitchcock: my own methods
Alfred Hitchcock: my own methodsFrom the Sight and Sound archive
From the archive: can Spider-Man do the comics justice?
From the archive: can Spider-Man do the comics justice?From the Sight and Sound archive
“I like to have the freedom a novelist has”: Nuri Bilge Ceylan on Winter Sleep
“I like to have the freedom a novelist has”: Nuri Bilge Ceylan on Winter SleepFrom the Sight and Sound archive
"That old transference of guilt theme so beloved of Hitchcock": Marnie reviewed in 1964
"That old transference of guilt theme so beloved of Hitchcock": Marnie reviewed in 1964From the Sight and Sound archive
“A complex, reverberating study of a man trapped by guilt”: Coppola’s The Conversation reviewed in 1974
“A complex, reverberating study of a man trapped by guilt”: Coppola’s The Conversation reviewed in 1974From the Sight and Sound archive
Stolen privacy: Coppola’s The Conversation
Stolen privacy: Coppola’s The ConversationFrom the Sight and Sound archive
Hell up in the Bronx: Richard Combs reviews Gloria and Raging Bull
Hell up in the Bronx: Richard Combs reviews Gloria and Raging BullFrom the Sight and Sound archive
Colonial guilt: India Song and Marguerite Duras
Colonial guilt: India Song and Marguerite DurasFrom the Sight and Sound archive
“It is itself very like TV, the monster it mocks”: Network reviewed in 1977
“It is itself very like TV, the monster it mocks”: Network reviewed in 1977From the Sight and Sound archive
“Donald Sutherland’s performance is the gem of this flawed masterpiece”: Fellini's Casanova reviewed in 1977
“Donald Sutherland’s performance is the gem of this flawed masterpiece”: Fellini's Casanova reviewed in 1977From the Sight and Sound archive
“I am not optimistic at all about American society”: Sidney Lumet on Before the Devil Knows You’re Dead
“I am not optimistic at all about American society”: Sidney Lumet on Before the Devil Knows You’re DeadFrom the Sight and Sound archive
Agnieszka Holland: staying power
Agnieszka Holland: staying powerFrom the Sight and Sound archive
Inside Out: tales of ordinary sadness
Inside Out: tales of ordinary sadnessFrom the Sight and Sound archive
The Matrix and rubber reality
The Matrix and rubber realityFrom the Sight and Sound archive
Handsworth Songs, reviewed in 1987
Handsworth Songs, reviewed in 1987From the Sight and Sound archive
Remain in light: Roger Deakins in ten shots
Remain in light: Roger Deakins in ten shotsFrom the Sight and Sound archive
Luis Ospina: the politics of vampires
Luis Ospina: the politics of vampiresFrom the Sight and Sound archive
“I have never felt accepted as a director”: Lindsay Anderson interviewed in 1989
“I have never felt accepted as a director”: Lindsay Anderson interviewed in 1989From the Sight and Sound archive
The roots of neorealism
The roots of neorealismFrom the Sight and Sound archive
Support your local police movie
Support your local police movieFrom the Sight and Sound archive
“Few films, in my own experience, have bristled with so many problems”: Michael Balcon on Scott of the Antarctic
“Few films, in my own experience, have bristled with so many problems”: Michael Balcon on Scott of the AntarcticFrom the Sight and Sound archive
Elaine May: laughing matters
Elaine May: laughing mattersFrom the Sight and Sound archive
“Ford is a director with whom things are either right or wrong”: Lindsay Anderson’s review of The Searchers
“Ford is a director with whom things are either right or wrong”: Lindsay Anderson’s review of The Searchers