From the Sight and Sound archive
“It earns every hair it stiffens”: Alejandro Amenábar’s The Others
25 years ago, The Others chilled audiences with its creeping unease and haunted house horrors. The devil is in the details of Alejandro Amenábar’s Turn of the Screw-style story, argued Nick James in our November 2001 issue.
From the Sight and Sound archive
“He was a giant for work”: Michal Leszczylowski, editor of The Sacrifice, on Andrei Tarkovsky
“He was a giant for work”: Michal Leszczylowski, editor of The Sacrifice, on Andrei TarkovskyFrom the Sight and Sound archive
Gods and monsters: Spirited Away reviewed in 2003
Gods and monsters: Spirited Away reviewed in 2003From the Sight and Sound archive
The misfits of Zwigoff: a visit to the set of Ghost World
The misfits of Zwigoff: a visit to the set of Ghost WorldFrom the Sight and Sound archive
Lonesome tonight: Tony Rayns and Edward Yang on A Brighter Summer Day
Lonesome tonight: Tony Rayns and Edward Yang on A Brighter Summer DayFrom the Sight and Sound archive
God’s lonely man: Amy Taubin on Taxi Driver
God’s lonely man: Amy Taubin on Taxi DriverFrom the Sight and Sound archive
Don’t try this at home: Jackass: The Movie reviewed in 2003
Don’t try this at home: Jackass: The Movie reviewed in 2003From the Sight and Sound archive
Death becomes Visconti
Death becomes ViscontiFrom the Sight and Sound archive
A close encounter with Steven Spielberg
A close encounter with Steven SpielbergFrom the Sight and Sound archive
A “lethally perfumed neo-noir”: David Lynch’s Mulholland Dr.
A “lethally perfumed neo-noir”: David Lynch’s Mulholland Dr.From the Sight and Sound archive
Blonde ambition: Legally Blonde reviewed in 2001
Blonde ambition: Legally Blonde reviewed in 2001From the Sight and Sound archive
Beauties and the beast: Lina Wertmüller’s Seven Beauties and Martin Scorsese’s Taxi Driver
By Colin L. Westerbeck Jr.
From the Sight and Sound archive
Italian auteurs and American upstarts: the Cannes Film Festival in 1976
Italian auteurs and American upstarts: the Cannes Film Festival in 1976From the Sight and Sound archive
“A film of marvels if not quite a marvellous film”: Shrek reviewed in 2001
“A film of marvels if not quite a marvellous film”: Shrek reviewed in 2001From the Sight and Sound archive
“I make a daily effort to demolish my ignorance”: Roberto Rossellini interviewed in 1976
“I make a daily effort to demolish my ignorance”: Roberto Rossellini interviewed in 1976From the Sight and Sound archive
“A story marshalled with dazzling skill and precision”: All the President’s Men reviewed in 1976
“A story marshalled with dazzling skill and precision”: All the President’s Men reviewed in 1976From the Sight and Sound archive
“Funny, engaging and winning in its self-deprecating modesty”: Bridget Jones’s Diary reviewed in 2001
“Funny, engaging and winning in its self-deprecating modesty”: Bridget Jones’s Diary reviewed in 2001 From the Sight and Sound archive
Hell freezes over: the Coen brothers on Fargo
Hell freezes over: the Coen brothers on FargoFrom the Sight and Sound archive
George Orwell, film critic
George Orwell, film criticFrom the Sight and Sound archive
Moulin Rouge: “the artiest film ever predicated as a summer blockbuster”
Moulin Rouge: “the artiest film ever predicated as a summer blockbuster”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 features