From the Sight and Sound archive
Moulin Rouge: “the artiest film ever predicated as a summer blockbuster”
Baz Luhrmann’s all-raving Moulin Rouge – returning to cinemas this week for its 25th anniversary – is not just an ambitious stab at reviving the musical, it is also a rapturous blend of cultural references old and new, argued Graham Fuller in our June 2001 issue.
From the Sight and Sound archive
The Man Who Fell to Earth: humanity, lost and found
The Man Who Fell to Earth: humanity, lost and foundFrom the Sight and Sound archive
“I am not afraid of anything”: Andrzej Wajda interviewed in 2008
By Michael Brooke and Kamila Kuc
From the Sight and Sound archive
“Two virtuosos on a collision course”: Lars von Trier and Björk made art in his anti-musical, Dancer in the Dark (2000)
“Two virtuosos on a collision course”: Lars von Trier and Björk made art in his anti-musical, Dancer in the Dark (2000) From the Sight and Sound archive
“When you stop shooting, that’s when the best thing is going to happen. You have to persevere”: an interview with Frederick Wiseman
“When you stop shooting, that’s when the best thing is going to happen. You have to persevere”: an interview with Frederick WisemanFrom the Sight and Sound archive
“Until you see someone like you doing something, you can never imagine yourself doing it”: Spike Lee on Malcolm X, role models and the press
“Until you see someone like you doing something, you can never imagine yourself doing it”: Spike Lee on Malcolm X, role models and the pressFrom the Sight and Sound archive
Heights of fashion: Wuthering Heights on screen, from Wyler to MTV
Heights of fashion: Wuthering Heights on screen, from Wyler to MTVFrom the Sight and Sound archive
Keeper of the Flame: an exploration of “German cinema’s greatest marginal figure”, Werner Schroeter
Keeper of the Flame: an exploration of “German cinema’s greatest marginal figure”, Werner SchroeterFrom the Sight and Sound archive
The greatest love stories ever re-told? The legacy of the Brontë sisters on screen
The greatest love stories ever re-told? The legacy of the Brontë sisters on screenFrom the Sight and Sound archive
“To some the most impressive thing De Sica has yet done”: Miracle in Milan reviewed in 1951
“To some the most impressive thing De Sica has yet done”: Miracle in Milan reviewed in 1951From the Sight and Sound archive
Views of the New Wave: Godard and Rohmer’s first features
Views of the New Wave: Godard and Rohmer’s first featuresFrom the Sight and Sound archive
Trimming Tolkien: on the faithfulness of Peter Jackson’s The Lord of the Rings
Trimming Tolkien: on the faithfulness of Peter Jackson’s The Lord of the RingsFrom the Sight and Sound archive
“I have a responsibility to be provocative in my films”: Rosa von Praunheim’s activist cinema
“I have a responsibility to be provocative in my films”: Rosa von Praunheim’s activist cinemaFrom the Sight and Sound archive
“This is definitely a closing movie because I collected everything”: Béla Tarr on his final film, The Turin Horse
“This is definitely a closing movie because I collected everything”: Béla Tarr on his final film, The Turin HorseFrom the Sight and Sound archive
“Rob Reiner directs with sympathy for both main characters”: When Harry Met Sally reviewed in 1989
“Rob Reiner directs with sympathy for both main characters”: When Harry Met Sally reviewed in 1989From the Sight and Sound archive
An extraordinary film about ordinary people: L’Atalante reviewed in 1951
An extraordinary film about ordinary people: L’Atalante reviewed in 1951From the Sight and Sound archive
Calling the shots: Secretary reviewed in 2003
Calling the shots: Secretary reviewed in 2003From the Sight and Sound archive
“I want a formally perfect film”: Pier Paolo Pasolini on the making of Salò
“I want a formally perfect film”: Pier Paolo Pasolini on the making of SalòFrom the Sight and Sound archive
Loosening the knot: on the set of Zhang Yimou’s To Live
Loosening the knot: on the set of Zhang Yimou’s To LiveFrom the Sight and Sound archive
Escape artist: Lynne Ramsay’s Morvern Callar
Escape artist: Lynne Ramsay’s Morvern CallarFrom the Sight and Sound archive
“It’s alive!”: the gothic tradition’s enduring legacy on screen
“It’s alive!”: the gothic tradition’s enduring legacy on screenFrom the Sight and Sound archive
The House of Mirth: a Wharton adaptation that rivals Scorsese’s
The House of Mirth: a Wharton adaptation that rivals Scorsese’sFrom the Sight and Sound archive
Perfect Blue: Kon Satoshi’s twisted pop dream
Perfect Blue: Kon Satoshi’s twisted pop dreamFrom the Sight and Sound archive
Midnight madness: The Rocky Horror Picture Cult
Midnight madness: The Rocky Horror Picture CultFrom the Sight and Sound archive
“It was dance as action rather than as aesthetics”: Stephen Daldry on Billy Elliot
“It was dance as action rather than as aesthetics”: Stephen Daldry on Billy ElliotFrom the Sight and Sound archive
Robert Redford: act natural
Robert Redford: act naturalFrom the Sight and Sound archive
“Consistently convincing, generally hilarious”: This Is Spinal Tap reviewed in 1984
“Consistently convincing, generally hilarious”: This Is Spinal Tap reviewed in 1984From the Sight and Sound archive
Dead of Night: 80 years on, Ealing’s anthology horror is still a waking nightmare
Dead of Night: 80 years on, Ealing’s anthology horror is still a waking nightmareFrom the Sight and Sound archive
“The bleakest portrait of a marriage since Bergman”: The War of the Roses reviewed in 1989
“The bleakest portrait of a marriage since Bergman”: The War of the Roses reviewed in 1989From the Sight and Sound archive
Subversive spirit and satirical energy: Sense and Sensibility reviewed in 1996
Subversive spirit and satirical energy: Sense and Sensibility reviewed in 1996