Features and reviews

Discover the latest from the BFI, the UK’s lead organisation for film, television and the moving image.

Interviews

“Florence gave birth eight times that day”: John Crowley on his multiple timeline romcom We Live in Time

Andrew Garfield and Florence Pugh are a couple whose relationship we experience across three timelines in the new film from the director of Brooklyn, John Crowley. He explains how Nic Roeg movies inspired him to see that each film “generates its own relative time universe“.

By Lou Thomas

“Florence gave birth eight times that day”: John Crowley on his multiple timeline romcom We Live in Time

Interviews

Sammo Hung looks back on a life of action: “We risked our lives, but we really had no choice”

By Nick Newman

Sammo Hung looks back on a life of action: “We risked our lives, but we really had no choice”

Interviews

James Ivory on his career with Ismail Merchant: “There are a lot of films we made that people don’t really know about today”

By Alex Davidson

James Ivory on his career with Ismail Merchant: “There are a lot of films we made that people don’t really know about today”

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

“Nobody loves a dirty joke more than Judi”: Richard Eyre on directing the greats

By Alex Ramon

“Nobody loves a dirty joke more than Judi”: Richard Eyre on directing the greats

Interviews

The Taste of Mango: “As the process of making the film went on, my anger turned into love and empathy”

By Rógan Graham

The Taste of Mango: “As the process of making the film went on, my anger turned into love and empathy”

Interviews

David Lynch on music, innovation and his future as a filmmaker: “I like to call it experimentation”

By Sam Wigley

David Lynch on music, innovation and his future as a filmmaker: “I like to call it experimentation”

Interviews

The last action hero in Hong Kong: Stephen Tung Wai on 50 years of kicking it in kung fu movies

By David West

The last action hero in Hong Kong: Stephen Tung Wai on 50 years of kicking it in kung fu movies

Interviews

Bill Nighy on his IVF origin story Joy: “This was an opportunity to put a bomb under the male tendency to bewilderingly underestimate women”

By Lou Thomas

Bill Nighy on his IVF origin story Joy: “This was an opportunity to put a bomb under the male tendency to bewilderingly underestimate women”

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

The post-punk look: Dick Pope on remastering Mike Leigh’s Naked

By James Bell

The post-punk look: Dick Pope on remastering Mike Leigh’s Naked

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

Mark Cousins on his portrait of a neglected painter: “Once you’re infected by an artist’s work, it’s timeless”

By Georgia Korossi

Mark Cousins on his portrait of a neglected painter: “Once you’re infected by an artist’s work, it’s timeless”

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

“I tried to make the viewer a witness of this process of deterioration”: Sara Fgaier on her amnesia drama Weightless

By Georgia Korossi

“I tried to make the viewer a witness of this process of deterioration”: Sara Fgaier on her amnesia drama Weightless

Interviews

“We resisted neurotypical ways of making films”: how The Stimming Pool creates space for an autistic cinema

By Lillian Crawford

“We resisted neurotypical ways of making films”: how The Stimming Pool creates space for an autistic cinema

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

Interviews

How we made our drug-war drama Sujo: “Many kids born into this crisis are now becoming adults”

By Georgia Korossi

How we made our drug-war drama Sujo: “Many kids born into this crisis are now becoming adults”

Interviews

Fire of Wind: Marta Mateus on her moonlit vigil in Portuguese wine country

By Sam Wigley

Fire of Wind: Marta Mateus on her moonlit vigil in Portuguese wine country

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

The Outcasts: the return of a buried landmark of Irish folk horror

By Paul Duane

The Outcasts: the return of a buried landmark of Irish folk horror

Interviews

Clio Barnard on directing Sherwood series 2: “The thing that television can do is create a national conversation”

By Lou Thomas

Clio Barnard on directing Sherwood series 2: “The thing that television can do is create a national conversation”

Interviews

How we made The Third Man: ”Welles came out with the line about the ‘cuckoo clock’. Nobody knew what was going to come out of his mouth”

By Sam Wigley

How we made The Third Man: ”Welles came out with the line about the ‘cuckoo clock’. Nobody knew what was going to come out of his mouth”

Interviews

Starve Acre and its roots in 1970s folk horror: “Stranger things were being made on television at the time, frankly”

By Adam Scovell

Starve Acre and its roots in 1970s folk horror: “Stranger things were being made on television at the time, frankly”

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