All From the Sight and Sound archive articles
Mike Leigh: the naked truth
Starring David Thewlis as a violent misogynist, Naked suggested a change of style for a director best known for his distinctive brand of British social comedy, as this this career-spanning feature from our November 1993 issue argued
By Andy Medhurst
Gallivanting with Andrew Kötting, Big Granny and little Eden
By Iain Sinclair
“Sometimes nearly serious, always wildly funny”: Penelope Houston on Preston Sturges
By Penelope Houston
The method and madness of Nicolas Cage
By Manohla Dargis
Nicolas Roeg: the last British romantic
By Nick James
“We will never see that Hollywood again”: Bette Davis, grande dame of cinema
By Margaret Hinxman
Italian auteurs and American upstarts: the Cannes Film Festival in 1976
By Penelope Houston
Bearing witness and burning illusions: Menelik Shabazz, 1954-2021
By Menelik Shabazz
“I know it’s unfashionable, but I believe in humanity”: Krzysztof Kieslowski on the Decalogue
By Phil Cavendish
Nashville crams Music City into a bustling slice of cinema
By Philip Strick
Salaam Bombay! ranks with the masterpieces of neo-realism
By Alex Dudok de Wit
Hell freezes over: the Coen brothers on Fargo
By Lizzie Francke
Keeping a distance: Chantal Akerman’s Jeanne Dielman
By Janet Bergstrom
An audience with Howard Hawks
By Joseph McBride and Michael Wilmington
Rhapsody in blue: Barry Jenkins on Moonlight
By Gaylene Gould
On beauties and their beasts
By Marina Warner
The dewdrop on a blade of grass: Satyajit Ray in conversation
By Folke Isaksson
“Monte Hellman made westerns unlike any before or since”: Quentin Tarantino hymns Ride in the Whirlwind
By Quentin Tarantino
“You never stop moving! You never go anywhere!”: the final scene of Shampoo
By Sheila O'Malley
“American audiences’ greater education seems to have evaporated”: Jack Nicholson interviewed in 1974
By John Russell Taylor
How the movies woke up to jazz
By Tom Milne
“I don’t want to know movie directors”: Patricia Highsmith on her film adaptations
By Gerald Peary
“What, are you crazy, move the camera? Just leave it there!” Martin Scorsese on The King of Comedy
By Terrence Rafferty
“Desire is violence”: Claire Denis on Beau Travail
By Chris Darke
“Bogarde is exactly ripe for this role”: on the set of Visconti’s Death in Venice
By Margaret Hinxman
“I am NOT going to write my memoirs!”: Gloria Swanson talks pictures
By Rui Nogueira
Funeral in Berlin: Marlene Dietrich and Germany
By Gertrud Koch
Wolves, lambs – and Clarice Starling: the rise of the serial killer in 1990s cinema
By Amy Taubin