From the Sight and Sound archive
Loosening the knot: on the set of Zhang Yimou’s To Live
In frozen Changchun, Tony Rayns visited Zhang Yimou as he shot the last scenes of his film To Live. The director spoke with Rayns about laughter as a form of resilience and the state of filmmaking in China. From our May 1994 issue.
From the Sight and Sound archive
Escape artist: Lynne Ramsay’s Morvern Callar
Escape artist: Lynne Ramsay’s Morvern CallarFrom the Sight and Sound archive
“It’s alive!”: the gothic tradition’s enduring legacy on screen
“It’s alive!”: the gothic tradition’s enduring legacy on screenFrom the Sight and Sound archive
The House of Mirth: a Wharton adaptation that rivals Scorsese’s
The House of Mirth: a Wharton adaptation that rivals Scorsese’sFeatures
Sholay at 50: Ramesh Sippy’s dazzling epic stands the test of time
Sholay at 50: Ramesh Sippy’s dazzling epic stands the test of timeFeatures
Hall of mirrors: the ending of All About Eve
Hall of mirrors: the ending of All About EveFeatures
A century of cinephilia: the legacy of the Film Society
A century of cinephilia: the legacy of the Film SocietyFrom the Sight and Sound archive
Midnight madness: The Rocky Horror Picture Cult
Midnight madness: The Rocky Horror Picture CultFrom the Sight and Sound archive
Robert Redford: act natural
Robert Redford: act naturalFrom the Sight and Sound archive
Dead of Night: 80 years on, Ealing’s anthology horror is still a waking nightmare
Dead of Night: 80 years on, Ealing’s anthology horror is still a waking nightmareFrom the Sight and Sound archive
A child’s demon: Robert Mitchum in The Night of the Hunter
A child’s demon: Robert Mitchum in The Night of the HunterFrom the Sight and Sound archive
“Films constitute a valuable historical document”: Ernest Lindgren on the founding of the National Film Library
“Films constitute a valuable historical document”: Ernest Lindgren on the founding of the National Film LibraryFrom the Sight and Sound archive
Record of War: a provocative pairing of propaganda films
Record of War: a provocative pairing of propaganda filmsFeatures
1975: the year that changed cinema forever
1975: the year that changed cinema foreverFeatures
Steven Soderbergh on Jaws: “Every time I look at the film, it gets better”
Steven Soderbergh on Jaws: “Every time I look at the film, it gets better”Festivals
Celluloid celebration: the BFI Film on Film Festival 2025
Celluloid celebration: the BFI Film on Film Festival 2025Black Film Bulletin
Paulin Soumanou Vieyra at 100: a quiet construction
Paulin Soumanou Vieyra at 100: a quiet constructionBlack Film Bulletin
Blacks Britannica: ‘storm chasing’ in search of Black Britishness
Blacks Britannica: ‘storm chasing’ in search of Black BritishnessFrom the Sight and Sound archive
“I’m telling the story of me... it might set a trend”: George Lucas on the set of Star Wars
“I’m telling the story of me... it might set a trend”: George Lucas on the set of Star WarsFrom the Sight and Sound archive
Mission: Impossible – a popcorn movie to take seriously
Mission: Impossible – a popcorn movie to take seriouslyFrom the Sight and Sound archive
Mai Zetterling: some notes on acting
Mai Zetterling: some notes on actingFrom the Sight and Sound archive
“Godard’s best film”: Alphaville turns 60
“Godard’s best film”: Alphaville turns 60From the Sight and Sound archive
Julie Christie, the honey-glow girl
Julie Christie, the honey-glow girlFrom the Sight and Sound archive
Muriel’s Wedding: the greatest film of all time?
Muriel’s Wedding: the greatest film of all time?From the Sight and Sound archive
Learning to scream: Linda Williams on Psycho
Learning to scream: Linda Williams on PsychoFrom the Sight and Sound archive
Erin Brockovich, a law unto herself
Erin Brockovich, a law unto herselfFeatures
Out 1: Jacques Rivette’s 13-hour labyrinth gets a rare UK screening
Out 1: Jacques Rivette’s 13-hour labyrinth gets a rare UK screeningFrom the Sight and Sound archive
The sprawling brilliance of Robert Altman’s Nashville
The sprawling brilliance of Robert Altman’s NashvilleFrom the Sight and Sound archive
“American audiences’ greater education seems to have evaporated”: Jack Nicholson interviewed in 1974
“American audiences’ greater education seems to have evaporated”: Jack Nicholson interviewed in 1974From the Sight and Sound archive
Chantal Akerman: a primer
By Cristina Álvarez López and Adrian Martin
