Sight & Sound articles
“Everyone watches the film and thinks ‘That could be my country’”: Michel Franco on New Order
The Mexican filmmaker discusses his latest feature, a provocative dystopian work that imagines his native country being torn apart by political violence.
By Paul Julian Smith
“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
“What happens after the film is as important as what happens during the film”: Cristi Puiu on cinema culture past, present and future
By Cristi Puiu
“I wanted to make something that fits the moment”: Ben Wheatley on In the Earth
By Anton Bitel
“Palestinisation is everywhere”: Elia Suleiman on It Must Be Heaven
By Nick Chen
“I take pride in my millennial audience”: Emma Seligman on Shiva Baby and sugar daddies
By Sophie Monks Kaufman
“In a way it’s my apology to animals”: Victor Kossakovsky on his pig family portrait Gunda
By Nick Bradshaw
“Things are so much messier, and more beautiful, than we believe”: Aleem Khan on After Love
By Will Massa
An audience with Howard Hawks
By Joseph McBride and Michael Wilmington
13 films to watch at Sheffield DocFest 2021 – by the programmers
By Nick Bradshaw
Matthew Barney on his new film Redoubt, and why exhibition is the best way to see it
By Ben Nicholson
“Savour the NFT”: Gurinder Chadha on watching and shooting films at her favourite cinema
By Gurinder Chadha
Nicholas Britell on the writing the score for The Underground Railroad
By James Bell
Rhapsody in blue: Barry Jenkins on Moonlight
By Gaylene Gould
“The Human Voice came about as a caprice”: Pedro Almodóvar on his spellbinding lockdown project
By Mar Diestro-Dópido
Barry Jenkins is rebuilding American history with The Underground Railroad
By Devika Girish
How do actors like Daniel Kaluuya and Daisy Edgar-Jones master new accents?
By Nicole Davis
“Every movie is in some way a road movie”: Monte Hellman looks back
By Matthew Thrift
“Most adaptations are terrible…”: Colson Whitehead on entrusting The Underground Railroad to Barry Jenkins
“Most adaptations are terrible…”: Colson Whitehead on entrusting The Underground Railroad to Barry Jenkins“I’ve never lived without cinema”: Suzanne Lindon on making a film as a teenager
By James Mottram
“I think people are suspicious of me”: Aubrey Plaza’s mysterious ways
By Beatrice Loayza
“It was a validation of their stories”: Sarah Gavron on showing Rocks in the cast’s own East London locality
By Sarah Gavron
Chloe Zhao on Nomadland and the road to rediscovery
By Graham Fuller
“I think a lot of women hide their rage”: Emerald Fennell on Promising Young Woman
By Anna Bogutskaya
“I wanted to make a film about a supporting character”: Dea Kulumbegashvili on her enigmatic Beginning
By Jonathan Romney
“It was fairly anarchic…” Nick Broomfield recalls Greek cinema under the stars with all-natural extras
By Nick Broomfield