All From the Sight and Sound archive articles

From the Sight and Sound archive

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

Mike Leigh: the naked truth
From the Sight and Sound archive

Gallivanting with Andrew Kötting, Big Granny and little Eden

By Iain Sinclair

Gallivanting with Andrew Kötting, Big Granny and little Eden
From the Sight and Sound archive

“Sometimes nearly serious, always wildly funny”: Penelope Houston on Preston Sturges

By Penelope Houston

“Sometimes nearly serious, always wildly funny”: Penelope Houston on Preston Sturges
From the Sight and Sound archive

The method and madness of Nicolas Cage

By Manohla Dargis

The method and madness of Nicolas Cage
From the Sight and Sound archive

Nicolas Roeg: the last British romantic

By Nick James

Nicolas Roeg: the last British romantic
From the Sight and Sound archive

“We will never see that Hollywood again”: Bette Davis, grande dame of cinema

By Margaret Hinxman

“We will never see that Hollywood again”: Bette Davis, grande dame of cinema
From the Sight and Sound archive

Italian auteurs and American upstarts: the Cannes Film Festival in 1976

By Penelope Houston

Italian auteurs and American upstarts: the Cannes Film Festival in 1976
From the Sight and Sound archive

Bearing witness and burning illusions: Menelik Shabazz, 1954-2021

By Menelik Shabazz

Bearing witness and burning illusions: Menelik Shabazz, 1954-2021
From the Sight and Sound archive

“I know it’s unfashionable, but I believe in humanity”: Krzysztof Kieslowski on the Decalogue

By Phil Cavendish

“I know it’s unfashionable, but I believe in humanity”: Krzysztof Kieslowski on the Decalogue
From the Sight and Sound archive

Nashville crams Music City into a bustling slice of cinema

By Philip Strick

Nashville crams Music City into a bustling slice of cinema
From the Sight and Sound archive

Salaam Bombay! ranks with the masterpieces of neo-realism

By Alex Dudok de Wit

Salaam Bombay! ranks with the masterpieces of neo-realism
From the Sight and Sound archive

Hell freezes over: the Coen brothers on Fargo

By Lizzie Francke

Hell freezes over: the Coen brothers on Fargo
From the Sight and Sound archive

Keeping a distance: Chantal Akerman’s Jeanne Dielman

By Janet Bergstrom

Keeping a distance: Chantal Akerman’s Jeanne Dielman
From the Sight and Sound archive

An audience with Howard Hawks

By Joseph McBride and Michael Wilmington

An audience with Howard Hawks
From the Sight and Sound archive

Rhapsody in blue: Barry Jenkins on Moonlight

By Gaylene Gould

Rhapsody in blue: Barry Jenkins on Moonlight
From the Sight and Sound archive

On beauties and their beasts

By Marina Warner

On beauties and their beasts
From the Sight and Sound archive

The dewdrop on a blade of grass: Satyajit Ray in conversation

By Folke Isaksson

The dewdrop on a blade of grass: Satyajit Ray in conversation
From the Sight and Sound archive

“Monte Hellman made westerns unlike any before or since”: Quentin Tarantino hymns Ride in the Whirlwind

By Quentin Tarantino

“Monte Hellman made westerns unlike any before or since”: Quentin Tarantino hymns Ride in the Whirlwind
From the Sight and Sound archive

“You never stop moving! You never go anywhere!”: the final scene of Shampoo

By Sheila O'Malley

“You never stop moving! You never go anywhere!”: the final scene of Shampoo
From the Sight and Sound archive

“American audiences’ greater education seems to have evaporated”: Jack Nicholson interviewed in 1974

By John Russell Taylor

“American audiences’ greater education seems to have evaporated”: Jack Nicholson interviewed in 1974
From the Sight and Sound archive

How the movies woke up to jazz

By Tom Milne

How the movies woke up to jazz
From the Sight and Sound archive

Dirk Bogarde: a class act

By Nick James

Dirk Bogarde: a class act
From the Sight and Sound archive

“I don’t want to know movie directors”: Patricia Highsmith on her film adaptations

By Gerald Peary

“I don’t want to know movie directors”: Patricia Highsmith on her film adaptations
From the Sight and Sound archive

“What, are you crazy, move the camera? Just leave it there!” Martin Scorsese on The King of Comedy

By Terrence Rafferty

“What, are you crazy, move the camera? Just leave it there!” Martin Scorsese on The King of Comedy
From the Sight and Sound archive

“Desire is violence”: Claire Denis on Beau Travail

By Chris Darke

“Desire is violence”: Claire Denis on Beau Travail
From the Sight and Sound archive

“Bogarde is exactly ripe for this role”: on the set of Visconti’s Death in Venice

By Margaret Hinxman

“Bogarde is exactly ripe for this role”: on the set of Visconti’s Death in Venice
From the Sight and Sound archive

“I am NOT going to write my memoirs!”: Gloria Swanson talks pictures

By Rui Nogueira

“I am NOT going to write my memoirs!”: Gloria Swanson talks pictures
From the Sight and Sound archive

Funeral in Berlin: Marlene Dietrich and Germany

By Gertrud Koch

Funeral in Berlin: Marlene Dietrich and Germany
From the Sight and Sound archive

Wolves, lambs – and Clarice Starling: the rise of the serial killer in 1990s cinema

By Amy Taubin

Wolves, lambs – and Clarice Starling: the rise of the serial killer in 1990s cinema
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