By Mick Gaw
Edward Yang's 2000 masterpiece about a middle-class family in Taipei might be the defining film of the millennium.
After a cruel break-up, a writer finds comfort and relief in Michel Gondry's offbeat 2004 romantic drama.
Screenwriter, filmmaker and David Lynch disciple Aaron Stewart-Ahn reflects on growing up a stone's throw from the setting of Lynch's magnum opus, and what lies at the beating heart of all his creative work.
David Lynch's most unlikely feature examines the pain, regret, love and hope that makes life worth living.
A writer reflects on retracing the steps of Maggie Cheung and Tony Leung in Thailand's capital, many years after In The Mood For Love.
Jourdain Searles reflects on the power dynamics at play in David Lynch's seductive 1986 thriller.
Christina Newland explores the rhythms of David Lynch's take on the life of Joseph Merrick.
Despite the wealth of roles showcasing women over 40 this past year, some troubling stereotypes remain the same.
By Mark Asch
Mark Asch recalls the sultry summer of 2017, when Dale Cooper returned to television and the world was forever changed.
Sophie Monks Kaufman recalls a strange vision in the nighttime and the haunting nature of David Lynch's 1997 neo-noir.
David Lynch's one-time adventure in Hollywood blockbuster filmmaking would forever change him – but not his heart.
By Callie Petch
In an age of Walk Hard knock-offs, why are the biopics that continue to play it safe the biggest success stories?
Throughout his career – though perhaps nowhere so much as in Inland Empire – David Lynch carved out a space for powerful depictions of women in crisis.
By Esmé Holden
David Lynch's little-seen cartoon series about an angry man named Randy couldn't be more pertinent.
A tendency in male-directed Iranian cinema to focus on violence against women leaves female audiences out in the cold.
By Juan Barquin
Mark Frost and David Lynch's beloved television series is a testament to the greatest power human beings have.
A snakeskin jacket stands for so much in David Lynch's lurid fairytale Wild at Heart.
Willow Catelyn Maclay reflects on the lonely last days of Laura Palmer in David Lynch's Twin Peaks prequel.
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.
