From the Sight and Sound archive
The ending of The Ballad of Narayama
Death is not the end in Imamura Shôhei’s bleak tale of a village community’s struggle for survival, just another stage in the cycle of life
From the Sight and Sound archive
“I'm proud of being me”: Maggie Cheung, from As Tears Go By to Irma Vep
“I'm proud of being me”: Maggie Cheung, from As Tears Go By to Irma VepFrom the Sight and Sound archive
“We will never see that Hollywood again”: Bette Davis, grande dame of cinema
“We will never see that Hollywood again”: Bette Davis, grande dame of cinemaTalkies
The Magnificent ’74: Blazing Saddles
The Magnificent ’74: Blazing SaddlesTalkies
The Magnificent ’74: Road movies
The Magnificent ’74: Road moviesBlack Film Bulletin
Speak-easy: on representation and equity in the UK TV and film industry since 2020
Speak-easy: on representation and equity in the UK TV and film industry since 2020From the Sight and Sound archive
Alain Robbe-Grillet: “Imagination, if it's vivid enough, is always in the present tense”
Alain Robbe-Grillet: “Imagination, if it's vivid enough, is always in the present tense”From the Sight and Sound archive
Two previews: Au hasard Balthazar and Masculin Féminin
Two previews: Au hasard Balthazar and Masculin FémininFrom the Sight and Sound archive
Gena Rowlands: performance from the inside out
Gena Rowlands: performance from the inside outFeatures
“It had to be technical rather than emotive”: Mica Levi on their The Zone of Interest score
“It had to be technical rather than emotive”: Mica Levi on their The Zone of Interest scoreFrom the Sight and Sound archive
Alfred Hitchcock: my own methods
Alfred Hitchcock: my own methodsFrom the Sight and Sound archive
From the archive: can Spider-Man do the comics justice?
From the archive: can Spider-Man do the comics justice?From the Sight and Sound archive
Stolen privacy: Coppola’s The Conversation
Stolen privacy: Coppola’s The ConversationFrom the Sight and Sound archive
Hell up in the Bronx: Richard Combs reviews Gloria and Raging Bull
Hell up in the Bronx: Richard Combs reviews Gloria and Raging BullTalkies
The magnificent ’74: Chinatown
The magnificent ’74: ChinatownFrom the Sight and Sound archive
Agnieszka Holland: staying power
Agnieszka Holland: staying powerFrom the Sight and Sound archive
Inside Out: tales of ordinary sadness
Inside Out: tales of ordinary sadnessFrom the Sight and Sound archive
The Matrix and rubber reality
The Matrix and rubber realityFrom the Sight and Sound archive
Remain in light: Roger Deakins in ten shots
Remain in light: Roger Deakins in ten shotsFrom the Sight and Sound archive
Luis Ospina: the politics of vampires
Luis Ospina: the politics of vampiresFrom the Sight and Sound archive
The roots of neorealism
The roots of neorealismFrom the Sight and Sound archive
Support your local police movie
Support your local police movieFrom the Sight and Sound archive
“Few films, in my own experience, have bristled with so many problems”: Michael Balcon on Scott of the Antarctic
“Few films, in my own experience, have bristled with so many problems”: Michael Balcon on Scott of the AntarcticFeatures
The unhappy happy ending of Douglas Sirk’s There’s Always Tomorrow
The unhappy happy ending of Douglas Sirk’s There’s Always TomorrowFrom the Sight and Sound archive
Elaine May: laughing matters
Elaine May: laughing mattersTalkies
TV Eye: The next Game of Thrones
TV Eye: The next Game of ThronesFrom the Sight and Sound archive
“Her charisma, her presence, was a lot to do with her eyes”: Asif Kapadia on Amy
“Her charisma, her presence, was a lot to do with her eyes”: Asif Kapadia on AmyTalkies
The magnificent ’74: The Conversation
The magnificent ’74: The ConversationFrom the Sight and Sound archive
My father the hero: Víctor Erice’s El sur
My father the hero: Víctor Erice’s El sur