Features and reviews
Discover the latest from the BFI, the UK’s lead organisation for film, television and the moving image.
Head in the sand: the ending of Woman of the Dunes
The close of Teshigahara Hiroshi’s haunting 1964 fable, about a man imprisoned at the bottom of a deep pit, offers some gloomy parallels with the modern world.
By Violet Lucca
Reigniting the flame: Menelik Shabazz’s Burning an Illusion, 40 years on
By Alex Ramon
Money moves: on Robert Bresson’s L’argent
By John Pym
60 years of The Loneliness of the Long Distance Runner: how the locations look today
By Adam Scovell
Behind the scenes on The Man Who Fell to Earth, The Wicker Man and other British cinema classics
Behind the scenes on The Man Who Fell to Earth, The Wicker Man and other British cinema classicsThe mother, the whore and the dandy
By Keith Reader
Men in Black at 25 and the end of the practical effects era
By Josh Slater-Williams
Goodbye Ramsay Street: how Britain fell in love with Neighbours
By Mandeep Kaur-Lakhan
Staying vulnerable: an interview with Bob Rafelson
By John Russell Taylor
FID Marseille 2022: new Lav Diaz and Albert Serra among the films generating heat
By Lou Thomas
Objects of desire: Gus Van Sant’s My Own Private Idaho
By Amy Taubin
The Railway Children: in search of the Yorkshire locations, 50 years on
By Adam Scovell
Cinema du look: Theo Anthony on All Light, Everywhere
By Nick Bradshaw
Blackpool illumination: Gurinder Chadha on Bhaji on the Beach
By Andrea Stuart
The vanishing British horror: unearthing The Appointment
By Vic Pratt
Blaxploitation, from Shaft to Original Gangstas
By Mike Phillips
In the shadow of Apu: in praise of Satyajit Ray’s Calcutta trilogy
By Omar Ahmed