Venus as a Boy: Pink Narcissus at 55
Recently restored by the UCLA Film & Television Archive, James Bi…
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Love Me Tender review – quietly devastating adaptation
Vicky Krieps captivates as a mother fighting for custody of her son a…
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The Summer Book review – dismally cosy
Glenn Close plays the sagely grandmother steering her son and grandda…
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Behind the Window Display: Cinema's Desperate Salesmen
Lacking the confidence to emulate the smooth-talking charlatans of th…
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In Praise of Hiroshi Teshigahara: Surveyor of the Abyss
As The Face of Another turns 60, the Japanese New Wave director's…
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Spider-Man: Brand New Day review – slavish fan service
Tom Holland returns for yet another swing as Spider-Man, but gets cau…
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Fleabag at 10: A Legacy Shaped by Mistakes
A decade since the first series of Phoebe Waller Bridge's opus ai…
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Eye of the Giant: Cinema's Cyclops Problem
Cinema has spent 120 years trying to crack the Cyclops. Christopher N…
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London's New Silent Cinema Wave
London’s silent cinema wave is only gathering pace, signalling an exc…
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Beating Heart: Discovering the Cinema of Kyrgyzstan
Inside the grassroots community of programmers, critics and filmmaker…
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John Waters: ’I’ve always been a les bro‘
A conversation with the Pope of Trash following new restorations of t…
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Evil Dead Burn | Rosebush Pruning | Fists in His Pockets (1965)
On Truth & Movies this week, we discuss Sébastien Vaniček's E…
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Shoot The People review – a powerful tribute to the camera as witness
Andy Mundy-Castle's stirring documentary charts the career of pho…
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