From the Sight and Sound archive
Mai Zetterling: some notes on acting
In 1951, the Swedish actress and soon-to-be groundbreaking director – who was born 100 years ago this May – wrote about the craft of film acting, and especially its relationship to stage acting.
From 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
From the Sight and Sound archive
“Rearrange their faces and give them all another name”: on Bob Dylan and I’m Not There
“Rearrange their faces and give them all another name”: on Bob Dylan and I’m Not ThereFrom the Sight and Sound archive
Viola Davis: over the fences
Viola Davis: over the fencesFrom the Sight and Sound archive
New York letter: Towards a spontaneous cinema
New York letter: Towards a spontaneous cinemaBlack Film Bulletin
Festival gems
Festival gemsBlack Film Bulletin
Speak-easy: Black hair and make-up on set
Speak-easy: Black hair and make-up on setFeatures
2024: the year in documentary film
2024: the year in documentary filmFeatures
2024: the year in late style
2024: the year in late styleFeatures
2024: the year in animation
2024: the year in animationFeatures
2024: the year in AI
2024: the year in AIFeatures
2024: the year in TV
2024: the year in TVFeatures
Films to watch out for in 2025
Films to watch out for in 2025From the Sight and Sound archive
The Lubitsch touch in The Shop Around the Corner
The Lubitsch touch in The Shop Around the CornerFrom the Sight and Sound archive
Alien encounter: on the set of Ridley Scott’s sci-fi horror
Alien encounter: on the set of Ridley Scott’s sci-fi horrorFrom the Sight and Sound archive
‘Trash’ movies, the refuse of mainstream cinema
‘Trash’ movies, the refuse of mainstream cinemaFrom the Sight and Sound archive
The jezebel swagger of Miriam Hopkins
The jezebel swagger of Miriam HopkinsFrom the Sight and Sound archive
A year with Andrei
A year with AndreiFrom the Sight and Sound archive
Authentic talking cinema: the history of documentary
Authentic talking cinema: the history of documentaryFrom the Sight and Sound archive
Bertolt Brecht: an address to Danish worker actors on the art of observation
Bertolt Brecht: an address to Danish worker actors on the art of observationFrom the Sight and Sound archive
The ending of The Ballad of Narayama
The ending of The Ballad of NarayamaFrom 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 Vep