Features and reviews

Discover the latest from the BFI, the UK’s lead organisation for film, television and the moving image.

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.

By Catherine de la Roche

“It’s no good showing things as they are – people wouldn’t believe them”: Alfred Hitchcock on To Catch a Thief

Interviews

The quiet Palestinian: actor-director Mohammad Bakri on his life and work

By Joseph Fahim

The quiet Palestinian: actor-director Mohammad Bakri on his life and work

Interviews

“We’re growing old together, my films and I”: Jonás Trueba on The Other Way Around

By Alonso Aguilar

“We’re growing old together, my films and I”: Jonás Trueba on The Other Way Around

Interviews

“Hollywood has been very timid these days”: Terry Gilliam on his 50-year directing career

By Lou Thomas

“Hollywood has been very timid these days”: Terry Gilliam on his 50-year directing career

From the Sight and Sound archive

Slaughterhouse blues: Charles Burnett on Killer of Sheep

By Armond White and Alex Cox

Slaughterhouse blues: Charles Burnett on Killer of Sheep

Interviews

“What would Jane Austen do?”: Amy Heckerling on Clueless at 30

By Scarlett Harris

“What would Jane Austen do?”: Amy Heckerling on Clueless at 30

Interviews

The director who wasn’t there: Mohammad Rasoulof on The Seed of the Sacred Fig

By Ehsan Khoshbakht

The director who wasn’t there: Mohammad Rasoulof on The Seed of the Sacred Fig

Interviews

“You can only truly tell stories if they’re in your skin”: Rebecca Lenkiewicz and Fiona Shaw on Hot Milk

By Lou Thomas

“You can only truly tell stories if they’re in your skin”: Rebecca Lenkiewicz and Fiona Shaw on Hot Milk

Interviews

“Some things I can’t talk about”: director Fax Bahr on Francis Coppola and the making of Hearts of Darkness: A Filmmaker’s Apocalypse

By Leigh Singer

“Some things I can’t talk about”: director Fax Bahr on Francis Coppola and the making of Hearts of Darkness: A Filmmaker’s Apocalypse

From the Sight and Sound archive

Refuseniks: Agnès Varda on The Gleaners and I

By Chris Darke

Refuseniks: Agnès Varda on The Gleaners and I

Interviews

From Top Gun to F1: Jerry Bruckheimer on 40 years as Hollywood’s blockbuster producer

By Lou Thomas

From Top Gun to F1: Jerry Bruckheimer on 40 years as Hollywood’s blockbuster producer

Interviews

Alex Cox on the legacy of Moviedrome, the BBC’s essential cult film slot

By Matthew Taylor

Alex Cox on the legacy of Moviedrome, the BBC’s essential cult film slot

Interviews

Dorothy Dandridge: biographer Donald Bogle interviewed on her stardom and legacy

By Miriam Bale

Dorothy Dandridge: biographer Donald Bogle interviewed on her stardom and legacy

Interviews

“Sometimes you don’t need to have gone to film school”: Daisy-May Hudson on her debut fiction feature Lollipop

By Rachel Pronger

“Sometimes you don’t need to have gone to film school”: Daisy-May Hudson on her debut fiction feature Lollipop

Interviews

Backwards through the backwoods: music editors Lori Hurley and Dean Eschler on Twin Peaks

By Sam Davies

Backwards through the backwoods: music editors Lori Hurley and Dean Eschler on Twin Peaks

Black Film Bulletin

Black Rodeo: the cinematic wild west re-envisioned

By Mia Mask

Black Rodeo: the cinematic wild west re-envisioned

Interviews

Takeshi Kitano, a rare interview: “There are diverse patterns of queerness in Japanese society”

By Blake Simons

Takeshi Kitano, a rare interview: “There are diverse patterns of queerness in Japanese society”

Interviews

The game of observation: a new interview with Darling and Eyes Wide Shut screenwriter Frederic Raphael

By Alex Ramon

The game of observation: a new interview with Darling and Eyes Wide Shut screenwriter Frederic Raphael

From the Sight and Sound archive

“We need to proceed with great caution”: Natasha Lyonne on AI and the Sag-Aftra strike

By Dominic Lees

“We need to proceed with great caution”: Natasha Lyonne on AI and the Sag-Aftra strike

Interviews

“I wanted to approach the curation from a position of abundance”: Wanda and Beyond curator Elena Gorfinkel on her season around one-feature filmmaker Barbara Loden

By Rachel Pronger

“I wanted to approach the curation from a position of abundance”: Wanda and Beyond curator Elena Gorfinkel on her season around one-feature filmmaker Barbara Loden

Interviews

“The audience will forgive bad animating but they’ll never forgive a bad story”: Adam Elliot on Memoir of a Snail

By Katie McCabe

“The audience will forgive bad animating but they’ll never forgive a bad story”: Adam Elliot on Memoir of a Snail

Interviews

“I never made a movie to just go make a movie, it was always an exploration of filmmaking”: our world exclusive interview with Tom Cruise

By Isabel Stevens

“I never made a movie to just go make a movie, it was always an exploration of filmmaking”: our world exclusive interview with Tom Cruise

Interviews

Wong Kar Wai on In the Mood for Love at 25 – a new interview: “Can an algorithm understand the weight of a glance between two people?”

By Sam Wigley

Wong Kar Wai on In the Mood for Love at 25 – a new interview: “Can an algorithm understand the weight of a glance between two people?”

Interviews

“We inadvertently began the hip-hop movement in Japan”: Fran Rubel Kuzui on the return of her 80s indie gem Tokyo Pop

By Josh Slater-Williams

“We inadvertently began the hip-hop movement in Japan”: Fran Rubel Kuzui on the return of her 80s indie gem Tokyo Pop

Interviews

“I can think of nothing more boring than a live concert film”: Iain Forsyth, Jane Pollard and Emiliana Torrini on The Extraordinary Miss Flower

By Leigh Singer

“I can think of nothing more boring than a live concert film”: Iain Forsyth, Jane Pollard and Emiliana Torrini on The Extraordinary Miss Flower

Interviews

“I don’t exist as a director in Georgia”: Dea Kulumbegashvili on her haunting abortion drama April

By Katie McCabe

“I don’t exist as a director in Georgia”: Dea Kulumbegashvili on her haunting abortion drama April

Interviews

“We’re recreating the devil’s music”: composer Ludwig Göransson on Sinners

By Lou Thomas

“We’re recreating the devil’s music”: composer Ludwig Göransson on Sinners

Interviews

Sex work and the city: Mikko Mäkelä on his intimate meta-narrative Sebastian

By Sam Wigley

Sex work and the city: Mikko Mäkelä on his intimate meta-narrative Sebastian

Interviews

“The more craic people are having on the shoot, the less funny it’s going to be”: Darren Thornton on his tragicomedy Four Mothers

By Josh Slater-Williams

“The more craic people are having on the shoot, the less funny it’s going to be”: Darren Thornton on his tragicomedy Four Mothers

Interviews

“We resisted neurotypical ways of making films”: how The Stimming Pool creates space for an autistic cinema

By Lillian Crawford

“We resisted neurotypical ways of making films”: how The Stimming Pool creates space for an autistic cinema