Take an exclusive look at Andrea Arnold’s new documentary, in which life and death come to the barnyard.
Alexander Skarsgård, Anya Taylor-Joy, Nicole Kidman, and Björk star in the 10th-century Icelandic epic.
Our annual countdown of the year’s finest silver screen offerings. How many have you seen?
By Zoe Kurland
In Hal Ashby’s unconventional 1971 romance, the central protagonists have very different ideas about life and death.
We celebrate our favourite film posters of the year, including Titane and The French Dispatch.
By Thomas Hobbs
From Mica Levi’s crashing, trap-infused Zola score to Emile Mosseri’s delicate piano work on Minari.
By Emma Fraser
From Squid Game to Succession, we count down our favourite small screen offerings from a bumper year.
Swiss Army Man directors Daniels – Kwan and Scheinert – reteam for this suitably out-there follow-up.
Pedro Pascal plays an obsessive fan who draws the master thespian into a real-life shootout in the action-comedy.
Louis Dazy shines a light on his fascination with documenting the possibility of night-time. In partnership with Adobe Creator Collective.
VFX supervisors Peter Hjorth and Fredrik Nord discuss the ovine inspirations behind the year’s most disturbing horror.
The late Japanese director explores the twin national disasters of 3.11 and World War Two in an epic series of films.
By Anton Bitel
Richard Benjamin’s hokey My Stepmother is an Alien is an effects-heavy time capsule of ’80s excess.
By Liz Gorny
In Jim Jarmusch’s 1991 film, a cab driver and his passenger’s identical hats capture the power and poignancy in cultural exchange.
By Sean Wilson
Composer Magazine takes a look at the elements which earn a film score a place in the history books.
The latter portrays Neville Chamberlain in this dramatisation of the 1938 Nazi appeasement in Munich.
By Anton Bitel
Stefan Avalos and Lance Weiler’s 1998 horror mockumentary The Last Broadcast predates The Blair Witch Project.
By Adam Scovell
In the 1960s and ’70s, a spate of low-rent exploitation films tapped sorcery and the occult for cheap, sleazy thrills.
Little White Lies was established in 2005 as a bi-monthly print magazine committed to championing great movies and the talented people who make them. Combining cutting-edge design, illustration and journalism, we’ve been described as being “at the vanguard of the independent publishing movement.” Our reviews feature a unique tripartite ranking system that captures the different aspects of the movie-going experience. We believe in Truth & Movies.
