articles
Making democracy wait: how a new documentary tackles the toppling statues debate
In The Neutral Ground, filmmaker C.J. Hunt dives into the troubled history of Confederate monuments in America. But as he explains here, the statues are a “crowbar” to open up a much wider conversation.
By Callie Petch and Kelechi Ehenulo
Artificial intelligence and archive film: how The Light Surgeons put a new spin on Japan’s earliest moving images
By Georgia Korossi
Andrea Arnold on Cow: “Sometimes when you’re filmmaking, you get sent gifts from the universe”
By Brogan Morris
“My thoughts on the New Wave are not uplifting”: Truffaut interviewed in 1979
By Don Allen
Boiling Point: Phil Barantini on his one-take restaurant drama
By Lou Thomas
Why the Chinese Visual Festival mattered
By David Somerset
Luca Guadagnino on the future of film
By Thomas Flew
Sofia Coppola on the future of film
By Pamela Hutchinson
Steve McQueen on the future of film
By Kaleem Aftab
Olivia Colman on Bon Jovi, bad holidays and The Lost Daughter
By Lou Thomas
A close encounter with Steven Spielberg
By Richard Combs
Inside Rebel Dykes: the previously untold story of a punk-minded lesbian subculture
By El Hunt
Back to the days of UK garage: Reggie Yates on Pirates, his nostalgic directorial debut
By Katherine McLaughlin
The post-punk look: Dick Pope on remastering Mike Leigh’s Naked
By James Bell
A new dawn for Sudanese cinema: Amjad Abu Alala on You Will Die at Twenty
By Georgia Korossi
Belfast: Kenneth Branagh on an autobiographical drama “50 years in the making”
By Lou Thomas
Rose Plays Julie: Christine Molloy and Joe Lawlor on their provocative identity thriller
By Nikki Baughan
Wildfire: Cathy Brady and Nora-Jane Noone on their Irish border drama
By Josh Slater-Williams
Hazy memories of 90s Britain: Saint Etienne’s visual album I’ve Been Trying to Tell You
By Katherine McLaughlin
“Everyone watches the film and thinks ‘That could be my country’”: Michel Franco on New Order
By Paul Julian Smith
The Most Beautiful Boy in the World directors: “The film industry has a history of sad stories about child actors”
By Lou Thomas
Pariah at 10: Dee Rees on her mould-breaking lesbian classic
By Grace Barber-Plentie
“Police corruption is very present in LA”: Nick Broomfield on Last Man Standing
By James Mottram
Bearing witness and burning illusions: Menelik Shabazz, 1954-2021
By Menelik Shabazz
“I know it’s unfashionable, but I believe in humanity”: Krzysztof Kieslowski on the Decalogue
By Phil Cavendish
Come dine with me: in the filmmaker’s house with Marc Isaacs
By Isabel Stevens