Danny Boyle, Pippa Harris and James Wilson headline the Industry Forum of the 70th BFI London Film Festival, 8 to 15 October. Maria Bregman on…
Forty years after Blue Velvet opened in 98 American cinemas, the first anniversary since David Lynch’s death finds the film’s severed ear listening back as…
By Maria Bregman Most coverage of a film festival is written for the audience. This piece is for the people on the other side of…
The 83rd Venice International Film Festival runs from 2 to 12 September on the Lido, and for anyone who follows cinema seriously it marks the…
By Sara Bright Ealing comedies, produced under Michael Balcon, offered a unique lens on postwar Britain’s spirit. Amidst austerity and rigid class structures, films like…
There is a particular strangeness to living inside a culture that talks to itself through film dialogue. An American will tell you something is “a…
By Sara Bright Michael Powell and Emeric Pressburger, working as The Archers, transformed British cinema from documentary realism into a medium of feverish psychological opera.…
Nicolas Roeg’s 1973 film Don’t Look Now adapts a short story by Daphne du Maurier into something far more fractured and emotionally destabilising than its…
By Alexander Stone The British New Wave, emerging around 1960, dramatically shifted cinema’s focus from escapist studio productions to the raw realities of working-class life.…
Of all the directors who might have reached for The Odyssey, Christopher Nolan is the one who arrives with the fewest excuses and the highest…