Sight and Sound articles

From the Sight and Sound archive

“We need to proceed with great caution”: Natasha Lyonne on AI and the Sag-Aftra strike

In our September 2023 issue, Lyonne spoke about the limitations of AI in filmmaking and the related risk of worker exploitation.

By Dominic Lees

“We need to proceed with great caution”: Natasha Lyonne on AI and the Sag-Aftra strike

Interviews

“The audience will forgive bad animating but they’ll never forgive a bad story”: Adam Elliot on Memoir of a Snail

By Katie McCabe

“The audience will forgive bad animating but they’ll never forgive a bad story”: Adam Elliot on Memoir of a Snail

Interviews

“I never made a movie to just go make a movie, it was always an exploration of filmmaking”: our world exclusive interview with Tom Cruise

By Isabel Stevens

“I never made a movie to just go make a movie, it was always an exploration of filmmaking”: our world exclusive interview with Tom Cruise

Interviews

Wong Kar Wai on In the Mood for Love at 25 – a new interview: “Can an algorithm understand the weight of a glance between two people?”

By Sam Wigley

Wong Kar Wai on In the Mood for Love at 25 – a new interview: “Can an algorithm understand the weight of a glance between two people?”

Interviews

“I don’t exist as a director in Georgia”: Dea Kulumbegashvili on her haunting abortion drama April

By Katie McCabe

“I don’t exist as a director in Georgia”: Dea Kulumbegashvili on her haunting abortion drama April

From the Sight and Sound archive

Build my gallows high: Joshua Oppenheimer on The Act of Killing

By Nick Bradshaw

Build my gallows high: Joshua Oppenheimer on The Act of Killing

Interviews

David Lynch on music and innovation: “I like to call it experimentation”

By Sam Wigley

David Lynch on music and innovation: “I like to call it experimentation”

Interviews

“You have to take the glamour away from the kink”: Halina Reijn on Babygirl

By Leila Latif

“You have to take the glamour away from the kink”: Halina Reijn on Babygirl

From the Sight and Sound archive

Ian McEwan on collaborating with Richard Eyre for The Ploughman’s Lunch

By Jill Forbes

Ian McEwan on collaborating with Richard Eyre for The Ploughman’s Lunch

Interviews

“I was reaching for life as it feels, not life as it is”: Naqqash Khalid on In Camera

By Katie McCabe

“I was reaching for life as it feels, not life as it is”: Naqqash Khalid on In Camera

Interviews

“The scale of any project is secondary – it’s always about the quality of the writing”: Cillian Murphy on Small Things like These

By Sinéad Gleeson

“The scale of any project is secondary – it’s always about the quality of the writing”: Cillian Murphy on Small Things like These

Interviews

“The film should continue with you, otherwise I’m just preaching”: Raoul Peck on his documentary Ernest Cole: Lost and Found

By Leigh Singer

“The film should continue with you, otherwise I’m just preaching”: Raoul Peck on his documentary Ernest Cole: Lost and Found

Interviews

“A lot of things that adult actors are trying to achieve, kids just bring with them”: Franz Rogowski on Bird

By Thomas Flew

“A lot of things that adult actors are trying to achieve, kids just bring with them”: Franz Rogowski on Bird

Interviews

“There is another way”: making The Wild Robot

By Nick Bradshaw

“There is another way”: making The Wild Robot

Interviews

“I went in without any preconceived notions of sex work”: Mikey Madison on Anora

By Lou Thomas

“I went in without any preconceived notions of sex work”: Mikey Madison on Anora

Interviews

“It wasn’t all Blitz spirit and ‘Let’s have a cup of tea.’ That’s a crock of shit”: Kathy Burke on Steve McQueen’s Blitz

By Katie McCabe

“It wasn’t all Blitz spirit and ‘Let’s have a cup of tea.’ That’s a crock of shit”: Kathy Burke on Steve McQueen’s Blitz

From the Sight and Sound archive

The edge of the razor: Catherine Breillat on Romance

By Leslie Felperin and Linda Ruth Williams

The edge of the razor: Catherine Breillat on Romance

Interviews

Martin Scorsese and Edgar Wright on British Cinema

By James Bell

Martin Scorsese and Edgar Wright on British Cinema

Interviews

“Stop motion is live action in miniature”: Henry Selick in conversation

By Alex Dudok de Wit

“Stop motion is live action in miniature”: Henry Selick in conversation

Black Film Bulletin

Critics on critics: Leila Latif and Ellen E. Jones

Black Film Bulletin

Adjoa Andoh: swinging the lens

By June Givanni

Adjoa Andoh: swinging the lens

Interviews

Dream team: Chrystabell on collaborating with David Lynch on Cellophane Memories

By Sam Wigley

Dream team: Chrystabell on collaborating with David Lynch on Cellophane Memories

Interviews

“I wasn’t a child of arthouse cinema. I was a child of television”: Jane Schoenbrun on I Saw the TV Glow

By Katie McCabe

“I wasn’t a child of arthouse cinema. I was a child of television”: Jane Schoenbrun on I Saw the TV Glow

From the Sight and Sound archive

“I like to have the freedom a novelist has”: Nuri Bilge Ceylan on Winter Sleep

By Geoff Andrew

“I like to have the freedom a novelist has”: Nuri Bilge Ceylan on Winter Sleep

Interviews

“I think Istanbul is a place queer people gravitate to”: Director Levan Akin on Crossing

By Alex Davidson

“I think Istanbul is a place queer people gravitate to”: Director Levan Akin on Crossing

From the Sight and Sound archive

Colonial guilt: India Song and Marguerite Duras

By Carlos Clarens

Colonial guilt: India Song and Marguerite Duras

From the Sight and Sound archive

“I am not optimistic at all about American society”: Sidney Lumet on Before the Devil Knows You’re Dead

By Geoffrey Macnab

“I am not optimistic at all about American society”: Sidney Lumet on Before the Devil Knows You’re Dead

Interviews

“You’re very humble when you see a child playing the main character”: Marie Amachoukeli on Àma Gloria

By Annabel Bai Jackson

“You’re very humble when you see a child playing the main character”: Marie Amachoukeli on Àma Gloria

Interviews

“Not all trauma smells the same”: Luna Carmoon on Hoard

By Katie McCabe

“Not all trauma smells the same”: Luna Carmoon on Hoard

Interviews

“Neorealism is part of our DNA as Italians”: Paola Cortellesi on There's Still Tomorrow

By Jonathan Romney

“Neorealism is part of our DNA as Italians”: Paola Cortellesi on There's Still Tomorrow