From the Sight and Sound archive
Chantal Akerman: a primer
Throughout her career, Chantal Akerman pursued certain themes and ideas. Cristina Álvarez López and Adrian Martin offer a guide to some of the most important.
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 cinemaFrom the Sight and Sound archive
Ian McEwan on collaborating with Richard Eyre for The Ploughman’s Lunch
Ian McEwan on collaborating with Richard Eyre for The Ploughman’s LunchFrom 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
“A glimpse of perfection in an imperfect world”: The Umbrellas of Cherbourg reviewed in February 1965
“A glimpse of perfection in an imperfect world”: The Umbrellas of Cherbourg reviewed in February 1965From the Sight and Sound archive
“Magnificently produced pantomime”: The Wizard of Oz reviewed in 1940
“Magnificently produced pantomime”: The Wizard of Oz reviewed in 1940From 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
“An orgy of physical bravado”: Point Break reviewed in 1991
“An orgy of physical bravado”: Point Break reviewed in 1991From the Sight and Sound archive
‘Trash’ movies, the refuse of mainstream cinema
‘Trash’ movies, the refuse of mainstream cinemaFrom the Sight and Sound archive
Everyone’s entitled to one good scare: Halloween reviewed in 1979
Everyone’s entitled to one good scare: Halloween reviewed in 1979From 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
The edge of the razor: Catherine Breillat on Romance
By Leslie Felperin and Linda Ruth Williams
From 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 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 cinemaFrom 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 outFrom 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
“I like to have the freedom a novelist has”: Nuri Bilge Ceylan on Winter Sleep
“I like to have the freedom a novelist has”: Nuri Bilge Ceylan on Winter SleepFrom the Sight and Sound archive
“That old transference of guilt theme so beloved of Hitchcock”: Marnie reviewed in 1964
“That old transference of guilt theme so beloved of Hitchcock”: Marnie reviewed in 1964From the Sight and Sound archive
“A complex, reverberating study of a man trapped by guilt”: Coppola’s The Conversation reviewed in 1974
“A complex, reverberating study of a man trapped by guilt”: Coppola’s The Conversation reviewed in 1974From 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 Bull