Talkies
The magnificent ’74: Chinatown
Chinatown: or how a real 1974 and a fictional 1937 created a timeless, troubling LA legend.
The magnificent ’74: ChinatownFrom the Sight and Sound archive
Agnieszka Holland: staying power
Agnieszka Holland: staying powerFrom the Sight and Sound archive
Inside Out: tales of ordinary sadness
Inside Out: tales of ordinary sadnessFrom the Sight and Sound archive
The Matrix and rubber reality
The Matrix and rubber realityFrom the Sight and Sound archive
Remain in light: Roger Deakins in ten shots
Remain in light: Roger Deakins in ten shotsFrom the Sight and Sound archive
Luis Ospina: the politics of vampires
Luis Ospina: the politics of vampiresFrom the Sight and Sound archive
The roots of neorealism
The roots of neorealismFrom the Sight and Sound archive
Support your local police movie
Support your local police movieFrom the Sight and Sound archive
“Few films, in my own experience, have bristled with so many problems”: Michael Balcon on Scott of the Antarctic
“Few films, in my own experience, have bristled with so many problems”: Michael Balcon on Scott of the AntarcticFeatures
The unhappy happy ending of Douglas Sirk’s There’s Always Tomorrow
The unhappy happy ending of Douglas Sirk’s There’s Always TomorrowFrom the Sight and Sound archive
Elaine May: laughing matters
Elaine May: laughing mattersTalkies
TV Eye: The next Game of Thrones
TV Eye: The next Game of ThronesFrom the Sight and Sound archive
“Her charisma, her presence, was a lot to do with her eyes”: Asif Kapadia on Amy
“Her charisma, her presence, was a lot to do with her eyes”: Asif Kapadia on AmyTalkies
The magnificent ’74: The Conversation
The magnificent ’74: The ConversationFrom the Sight and Sound archive
My father the hero: Víctor Erice’s El sur
My father the hero: Víctor Erice’s El surFeatures
Adventures in mini moviegoing
Adventures in mini moviegoingFrom 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 cinemaFeatures
At the movies with Hamaguchi Ryūsuke
At the movies with Hamaguchi RyūsukeFeatures
Conflict zone: on Jonathan Glazer’s Oscars speech
Conflict zone: on Jonathan Glazer’s Oscars speechFrom the Sight and Sound archive
“The conclusion we came to about equality is that nobody really wants it”: Krzysztof Kieślowski on the Three Colours trilogy
“The conclusion we came to about equality is that nobody really wants it”: Krzysztof Kieślowski on the Three Colours trilogyFrom the Sight and Sound archive
Godzilla mon amour
Godzilla mon amourFrom the Sight and Sound archive
Survival instincts: the cinema of Jaume Collet-Serra
Survival instincts: the cinema of Jaume Collet-SerraFrom the Sight and Sound archive
Only a dream: Gene Tierney
Only a dream: Gene TierneyFestivals
Trans films in the spotlight as BFI Flare returns
Trans films in the spotlight as BFI Flare returnsFrom the Sight and Sound archive
“It is about moments of connecting and not connecting”: Kelly Reichardt on Certain Women
“It is about moments of connecting and not connecting”: Kelly Reichardt on Certain WomenFrom the Sight and Sound archive
City of God: angels with dirty faces
City of God: angels with dirty facesFrom the Sight and Sound archive
Out of oblivion: Alice Guy-Blaché
Out of oblivion: Alice Guy-BlachéFeatures
Lost and found: Ping Pong
Lost and found: Ping PongFrom the Sight and Sound archive
The eyes of Texas: Terrence Malick’s Days of Heaven
The eyes of Texas: Terrence Malick’s Days of Heaven