Features and reviews

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

Interviews

The Most Beautiful Boy in the World directors: “The film industry has a history of sad stories about child actors”

At 15 years old, Björn Andrésen was dubbed the “most beautiful boy in the world” by director Luchino Visconti, who cast him as the object of desire in Death in Venice. But instant fame weighed heavily on the young star, as filmmakers Kristina Lindström and Kristian Petri reveal in their new documentary.

By Lou Thomas

The Most Beautiful Boy in the World directors: “The film industry has a history of sad stories about child actors”
Interviews

Pariah at 10: Dee Rees on her mould-breaking lesbian classic

By Grace Barber-Plentie

Pariah at 10: Dee Rees on her mould-breaking lesbian classic
Interviews

“Police corruption is very present in LA”: Nick Broomfield on Last Man Standing

By James Mottram

“Police corruption is very present in LA”: Nick Broomfield on Last Man Standing
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
Interviews

Come dine with me: in the filmmaker’s house with Marc Isaacs

By Isabel Stevens

Come dine with me: in the filmmaker’s house with Marc Isaacs
My Dream Palace

“What happens after the film is as important as what happens during the film”: Cristi Puiu on cinema culture past, present and future

By Cristi Puiu

“What happens after the film is as important as what happens during the film”: Cristi Puiu on cinema culture past, present and future
Interviews

“I wanted to make something that fits the moment”: Ben Wheatley on In the Earth

By Anton Bitel

“I wanted to make something that fits the moment”: Ben Wheatley on In the Earth
Interviews

“Palestinisation is everywhere”: Elia Suleiman on It Must Be Heaven

By Nick Chen

“Palestinisation is everywhere”: Elia Suleiman on It Must Be Heaven
Interviews

“I take pride in my millennial audience”: Emma Seligman on Shiva Baby and sugar daddies

By Sophie Monks Kaufman

“I take pride in my millennial audience”: Emma Seligman on Shiva Baby and sugar daddies
Interviews

“I love playing the rascal”: William H. Macy looks back at Fargo

By Lou Thomas

“I love playing the rascal”: William H. Macy looks back at Fargo
Interviews

“In a way it’s my apology to animals”: Victor Kossakovsky on his pig family portrait Gunda

By Nick Bradshaw

“In a way it’s my apology to animals”: Victor Kossakovsky on his pig family portrait Gunda
Interviews

“Things are so much messier, and more beautiful, than we believe”: Aleem Khan on After Love

By Will Massa

“Things are so much messier, and more beautiful, than we believe”: Aleem Khan on After Love
From the Sight and Sound archive

An audience with Howard Hawks

By Joseph McBride and Michael Wilmington

An audience with Howard Hawks
Festivals

13 films to watch at Sheffield DocFest 2021 – by the programmers

By Nick Bradshaw

13 films to watch at Sheffield DocFest 2021 – by the programmers
Interviews

Kelly Reichardt: the quiet American

By Ryan Gilbey

Kelly Reichardt: the quiet American
Interviews

Matthew Barney on his new film Redoubt, and why exhibition is the best way to see it

By Ben Nicholson

Matthew Barney on his new film Redoubt, and why exhibition is the best way to see it
My Dream Palace

“Savour the NFT”: Gurinder Chadha on watching and shooting films at her favourite cinema

By Gurinder Chadha

“Savour the NFT”: Gurinder Chadha on watching and shooting films at her favourite cinema
Interviews

Nicholas Britell on the writing the score for The Underground Railroad

By James Bell

Nicholas Britell on the writing the score for The Underground Railroad
From the Sight and Sound archive

Rhapsody in blue: Barry Jenkins on Moonlight

By Gaylene Gould

Rhapsody in blue: Barry Jenkins on Moonlight
Interviews

“The Human Voice came about as a caprice”: Pedro Almodóvar on his spellbinding lockdown project

By Mar Diestro-Dópido

“The Human Voice came about as a caprice”: Pedro Almodóvar on his spellbinding lockdown project
Interviews

Barry Jenkins is rebuilding American history with The Underground Railroad

By Devika Girish

Barry Jenkins is rebuilding American history with The Underground Railroad
Interviews

How do actors like Daniel Kaluuya and Daisy Edgar-Jones master new accents?

By Nicole Davis

How do actors like Daniel Kaluuya and Daisy Edgar-Jones master new accents?
Interviews

“Every movie is in some way a road movie”: Monte Hellman looks back

By Matthew Thrift

“Every movie is in some way a road movie”: Monte Hellman looks back
Interviews

“Most adaptations are terrible…”: Colson Whitehead on entrusting The Underground Railroad to Barry Jenkins

“Most adaptations are terrible…”: Colson Whitehead on entrusting The Underground Railroad to Barry Jenkins
Interviews

“I’ve never lived without cinema”: Suzanne Lindon on making a film as a teenager

By James Mottram

“I’ve never lived without cinema”: Suzanne Lindon on making a film as a teenager
Interviews

“I think people are suspicious of me”: Aubrey Plaza’s mysterious ways

By Beatrice Loayza

“I think people are suspicious of me”: Aubrey Plaza’s mysterious ways
Interviews

The Terminator came to me in a dream: a new interview with James Cameron

By George Bass

The Terminator came to me in a dream: a new interview with James Cameron
My Dream Palace

“It was a validation of their stories”: Sarah Gavron on showing Rocks in the cast’s own East London locality

By Sarah Gavron

“It was a validation of their stories”: Sarah Gavron on showing Rocks in the cast’s own East London locality
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