Sight & Sound articles

Features

“You throw Black people in a western and it’s like sci-fi”: Director Jeymes Samuel on The Harder They Fall

The exuberant blood-spattered western The Harder They Fall offers a corrective to the whitewashed clichés of the genre’s past, with a starry cast including Idris Elba, Regina King and LaKeith Stanfield, and a soundtrack co-written by Jay-Z and director Jeymes Samuel

By Christina Newland

“You throw Black people in a western and it’s like sci-fi”: Director Jeymes Samuel on The Harder They Fall
From the Sight and Sound archive

Mike Leigh: the naked truth

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
Obituaries

Jean-Paul Belmondo: the face of the New Wave, the body of popular cinema (1933-2021)

By Ginette Vincendeau

Jean-Paul Belmondo: the face of the New Wave, the body of popular cinema (1933-2021)
Black Film Bulletin

“It was a solid Black middle-finger to the racist American film industry”: Merawi Gerima on Haile Gerima

By Merawi Gerima

“It was a solid Black middle-finger to the racist American film industry”: Merawi Gerima on Haile Gerima
Black Film Bulletin

“Giving voice to the common individual”: Zak Ové on Horace Ové

By Zak Ové

“Giving voice to the common individual”: Zak Ové on Horace Ové
Black Film Bulletin

Haile Gerima: decolonising film

By Onye Wambu

Haile Gerima: decolonising film
Black Film Bulletin

Horace Ové: reflection on a thirty-year experience

By June Givanni

Horace Ové: reflection on a thirty-year experience
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
Features

Bloodlines: a history of Black horror

By Kelli Weston

Bloodlines: a history of Black horror
My Dream Palace

Dea Kulumbegashvili recalls her cinephile education at the Cinema House in Tbilisi

By Dea Kulumbegashvili

Dea Kulumbegashvili recalls her cinephile education at the Cinema House in Tbilisi
Festivals

Locarno round-up: the best of the 2021 festival

By John Bleasdale

Locarno round-up: the best of the 2021 festival
Features

In the realm of Censor: Mark Kermode speaks to director Prano Bailey-Bond

By Mark Kermode

In the realm of Censor: Mark Kermode speaks to director Prano Bailey-Bond
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
Features

Bone of contention: the final scene of Bringing up Baby

By Molly Haskell

Bone of contention: the final scene of Bringing up Baby
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
Festivals

The Cannes dispatch: notes from the riviera

By Isabel Stevens

The Cannes dispatch: notes from the riviera
Features

Strangers in a strange land: how films are reframing the refugee experience

By Agnes Woolley

Strangers in a strange land: how films are reframing the refugee experience
Festivals

Cannes 2021: Un Certain Regard round-up

By Jonathan Romney

Cannes 2021: Un Certain Regard round-up
Festivals

Directors’ Fortnight: round-up

By James Lattimer

Directors’ Fortnight: round-up
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
Features

Up in flames: the ending of Monte Hellman’s Two-Lane Blacktop

By Adam Solomons

Up in flames: the ending of Monte Hellman’s Two-Lane Blacktop
Features

“I’m only interested in honest stories”: people watching with Márta Mészáros

By Michael Brooke

“I’m only interested in honest stories”: people watching with Márta Mészáros
Features

Jill Craigie: the woman who did

By Lillian Crawford

Jill Craigie: the woman who did
Features

“I'm a minimalist”: the dramatic stillness of Mads Mikkelsen

By Ryan Gilbey

“I'm a minimalist”: the dramatic stillness of Mads Mikkelsen
Features

The sprawling brilliance of Robert Altman’s Nashville

By Geoff Andrew

The sprawling brilliance of Robert Altman’s Nashville
Features

The long goodbye: has cinema finally learned how to depict dementia?

By Guy Lodge

The long goodbye: has cinema finally learned how to depict dementia?
Features

Tanu Muino has conquered the music video world – and she’s just getting started

By Sydney Urbanek

Tanu Muino has conquered the music video world – and she’s just getting started
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