On the same wavelength
by Anne-Katrin Titze
Lucy Sante on Ed Bahlman, Andrew Rossi’s Andy Warhol series, and Sara Driver’s Jean-Michel Basquiat documentary
Why didn't we know her?
by Anne-Katrin Titze
Nailah Jefferson on Beverly Johnson, Richard Avedon and Donyale Luna: Supermodel
Seeking fortunes
by Amber Wilkinson
Babak Jalali on cookie messages and casting challenges in Fremont
Place in time
by Anne-Katrin Titze
Yui Kiyohara on Yukiko Iioka, Tadashi Okuno, Like Someone In Love and Remembering Every Night
The women who get things done
by Jennie Kermode
John Barker, Bronté Snell and Shamilla Miller on stunts, sharks and The Umbrella Men: Escape From Robben Island
Reckoning with the past
by Jennie Kermode
Ian Gabriel, Noxolo Dlamini, Anthony Oseyemi, Irshaad Ally, S’Thandiwe Kgoroge and Inez Robertson on Death Of A Whistleblower
Winds of change
by Amber Wilkinson
Lkhagvadulam Purev-Ochir on depicting modern Mongolia and Shamanism onscreen in City Of Wind
Restoring history
by Amber Wilkinson
God Is A Woman director Andres Peyrot on bringing a film back to a community and engaging in dialogue about it
Off the rails
by Paul Risker
Jeong Yong-ki on divergent horror traditions and The Ghost Station
Girl reimagined
by Jennie Kermode
Jennifer Reeder on the power of femininity and the agency of blood in Perpetrator
Eye For Books
by Andrew Robertson
The Frightfest Guide To Mad Doctor Movies and They Live (Deep Focus): A Novel Approach To Cinema
A strange feeling
by Jennie Kermode
George Baron on David Lynch, Ray Wise, Olivia Scott Welch and The Blue Rose
Unlikely heroes
by Jennie Kermode
Konstantinos Koutsoliotas and Elizabeth E Schuch on Greek culture, monsters and the making of Minore
Sharing the terror
by Jennie Kermode
Sarah Appleton and Jasper Sharp discuss Japanese cinema and The J-Horror Virus
A smouldering story
by Amber Wilkinson
Thomas Schubert on imposter syndrome and tonal ambiguity in Afire
Off the map
by Jennie Kermode
Barnaby Clay on capturing intensity and eternity in The Seeding
Beyond the dark planet
by Jennie Kermode
Doug Bradley and Douglas Schulze on special effects, villains and Thorns
Taking the plunge
by Amber Wilkinson
Maximilian Erlenwein on the challenges of shooting The Dive underwater
Altered perspective
by Jennie Kermode
John Rosman on character, tension and the music of Bob Dylan in New Life
Inheritance
by Jennie Kermode
Stewart Thorndike on motherhood, snow, chainsaws and Bad Things
Fighting against injustice
by Anne-Katrin Titze
Elsa Zylberstein on Simone Veil, Olivier Dahan, Claude Lelouch and Simone: Woman Of The Century
Bodily pleasures
by Jennie Kermode
Joe Lynch on Lovecraft, sex, horror and comedy in Suitable Flesh
Sounding it out
by Amber Wilkinson
Sound designer Nathan Ruyle on his influences and his work on Joyland and Sound Of Freedom
Ready for action
by Jennie Kermode
Elizabeth Blake-Thomas on women getting physical in Hunt Club
They wanted to believe
by Jennie Kermode
Steve J Adams and Sean Horlor on Michelle Remembers, the Satanic Panic and Satan Wants You
Goldfish story
by Jennie Kermode
Lin Hei-yau on making The Moon, The Sky And You
Changing horizons
by Anne-Katrin Titze
Marc Turtletaub on Ben Kingsley, Zoë Winters, Jane Curtin and Jules
Time to reflect
by Jennie Kermode
Jared Moshé on making rules, coping with uncertainty, and Aporia
Animal's instincts
by Amber Wilkinson
Sofia Exarchou on capitalism, identity and performance in her latest film
Within the silences
by Jennie Kermode
Paris Zarcilla and Chi Thai discuss the legacy of colonialism and Raging Grace
A switch in time
by Jennie Kermode
Kim Jae-hoon on the body-swapping genre, music and fighting in Devils
Too close for comfort
by Jennie Kermode
Victor Ginzburg on vampires, Viktor Pelevin, Russian censorship and Empire V
