Josh Slater-Williams

Josh is a UK-based critic and culture journalist. In addition to the BFI and Sight and Sound, he also writes for Total Film, Little White Lies, IndieWire, Filmmaker and others.

All articles by Josh Slater-Williams

Reviews

Another World: a violent, fantastical Hong Kong animation

The path to reincarnation comes with brutally violent detours in Tommy Kai Chung Ng’s beautiful Studio Ghibli-indebted feature.

By Josh Slater-Williams

Another World: a violent, fantastical Hong Kong animation

Interviews

“Claire Foy was a natural at falconry”: Philippa Lowthorpe on H is for Hawk

By Josh Slater-Williams

“Claire Foy was a natural at falconry”: Philippa Lowthorpe on H is for Hawk

Interviews

Richard Linklater: “I was really afraid for my mom to watch Boyhood” – LFF Screen Talk

By Josh Slater-Williams

Richard Linklater: “I was really afraid for my mom to watch Boyhood” – LFF Screen Talk

Where to begin

Where to begin with Satoshi Kon

By Josh Slater-Williams

Where to begin with Satoshi Kon

Interviews

“If you can’t handle disorienting moments, maybe you shouldn’t be watching movies”: Sophy Romvari on Locarno prize-winner Blue Heron

By Josh Slater-Williams

“If you can’t handle disorienting moments, maybe you shouldn’t be watching movies”: Sophy Romvari on Locarno prize-winner Blue Heron

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

10 great

10 great Japanese time-travel films

By Josh Slater-Williams

10 great Japanese time-travel films

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

“It’s a blood opera”: on set for Gangs of London season three

By Josh Slater-Williams

“It’s a blood opera”: on set for Gangs of London season three

Festivals

20 years of the Glasgow Film Festival: tales of festivals past from longtime director Allison Gardner

By Josh Slater-Williams

20 years of the Glasgow Film Festival: tales of festivals past from longtime director Allison Gardner

Lists

30 game-changing film moments thanks to The National Lottery

By Josh Slater-Williams

30 game-changing film moments thanks to The National Lottery

Features

“People should have freedom to make the films they want to make”: Mike Leigh on rejection and the challenges for young filmmakers – LFF Screen Talk

By Josh Slater-Williams

“People should have freedom to make the films they want to make”: Mike Leigh on rejection and the challenges for young filmmakers – LFF Screen Talk

Reviews

Shadow of Fire: Tsukamoto Shinya’s unnerving conclusion to his anti-war trilogy

By Josh Slater-Williams

Shadow of Fire: Tsukamoto Shinya’s unnerving conclusion to his anti-war trilogy

Features

Sean Baker on the politics in his films: “We’re telling stories that can be discussed by both sides” – LFF Screen Talk

By Josh Slater-Williams

Sean Baker on the politics in his films: “We’re telling stories that can be discussed by both sides” – LFF Screen Talk

5 things to watch

5 things to watch this weekend – 30 August to 1 September

By Josh Slater-Williams

5 things to watch this weekend – 30 August to 1 September

Festivals

10 films to watch at the Edinburgh International Film Festival

By Josh Slater-Williams

10 films to watch at the Edinburgh International Film Festival

Interviews

From Spielberg to Brakhage: 5 influences on the sci-fi-tinged drama Sky Peals

By Josh Slater-Williams

From Spielberg to Brakhage: 5 influences on the sci-fi-tinged drama Sky Peals

Interviews

Chasing Amy and the LGBTQIA+ community: “There’s no consensus on this movie. It remains complicated to a lot of people”

By Josh Slater-Williams

Chasing Amy and the LGBTQIA+ community: “There’s no consensus on this movie. It remains complicated to a lot of people”

Festivals

10 to see at Glasgow Film Festival 2024

By Josh Slater-Williams

10 to see at Glasgow Film Festival 2024

Reviews

River: a two-minute time loop traps a group of hospitality workers in this breezy Japanese sci-fi

By Josh Slater-Williams

River: a two-minute time loop traps a group of hospitality workers in this breezy Japanese sci-fi

Interviews

Koji Fukada on his family drama Love Life: “If you have a deaf character in a film, the chances are they’re pure and angelic”

By Josh Slater-Williams

Koji Fukada on his family drama Love Life: “If you have a deaf character in a film, the chances are they’re pure and angelic”

10 great

10 great Japanese boxing films

By Josh Slater-Williams

10 great Japanese boxing films

Reviews

LOLA: a dark alt-history time-travel caper

By Josh Slater-Williams

LOLA: a dark alt-history time-travel caper

Interviews

Emily Watson on Ireland-set assault drama God’s Creatures: “We’re all complicit because the status quo is for all of us”

By Josh Slater-Williams

Emily Watson on Ireland-set assault drama God’s Creatures: “We’re all complicit because the status quo is for all of us”

Interviews

1976: Manuela Martelli on her Hitchcockian thriller about life under Pinochet

By Josh Slater-Williams

1976: Manuela Martelli on her Hitchcockian thriller about life under Pinochet

Festivals

Borderlines Film Festival: 10 to watch

By Josh Slater-Williams

Borderlines Film Festival: 10 to watch

Festivals

10 to see at Glasgow Film Festival 2023

By Josh Slater-Williams

10 to see at Glasgow Film Festival 2023

Interviews

The company of wolves: how we made snowbound mystery January

By Josh Slater-Williams

The company of wolves: how we made snowbound mystery January

Where to begin

Where to begin with James Cameron

By Josh Slater-Williams

Where to begin with James Cameron

Reviews

Hold Me Tight: Mathieu Amalric’s elliptical portrait of loss

By Josh Slater-Williams

Hold Me Tight: Mathieu Amalric’s elliptical portrait of loss