Contributions from Lillian Crawford | Little White Lies

Contributor Lillian Crawford

A young person looking through a train window, holding a piece of paper.
Interviews

Hirokazu Koreeda: ‘Ryuichi Sakamoto and I were a good match’

by Lillian Crawford

The Japan­ese film­mak­er reflects on the mov­ing expe­ri­ence of work­ing with com­pos­er Ryuichi Sakamo­to on his final score, for his new dra­ma Monster.
Four people, including two women and two men, sitting on a stage in front of an audience and a projection screen displaying the text "Stims: Toward a Neurodiverse Filmmaker".
Events

What might a more inclusive film programming world look like?

by Lillian Crawford

Lil­lian Craw­ford and her fel­low Bar­bi­can Young Pro­gram­mers reflect on their expe­ri­ences of curat­ing film events and hopes for a more inclu­sive film pro­gram­ming community.
Two people embrace, a man and a woman, both smiling. The image is in black and white.
Review

Maestro review – as heady and bombastic as a golden-age Hollywood musical

by Lillian Crawford

Bradley Coop­er soars in this lov­ing­ly craft­ed biopic of leg­endary com­pos­er Leonard Bernstein.

4
Anticipation
5
Enjoyment
4
In Retrospect
Two people standing in a snowy outdoor setting, one wearing a brown coat and the other wearing a blue and black coat.
Review

The Holdovers review – the most scintillating festive movie in years

by Lillian Crawford

A cur­mud­geon­ly teacher, a griev­ing cook and a petu­lant young stu­dent find them­selves thrown togeth­er for the hol­i­days in Alexan­der Payne’s excel­lent Christ­massy dramedy.

3
Anticipation
4
Enjoyment
4
In Retrospect
An elderly woman sitting in an armchair by a roaring fireplace in a cosy, dimly lit library.
Review

Doctor Jekyll review – gives Christopher Lee and Peter Cushing a run for their money

by Lillian Crawford

Ham­mer Hor­ror returns with a gen­der­flipped take on Robert Louis Steven­son’s icon­ic nov­el, star­ring Eddie Izzard as a lead­ing fig­ure of the phar­ma­ceu­ti­cal indus­try with a dark secret.

3
Anticipation
4
Enjoyment
3
In Retrospect
Woman in long white ball gown with full tulle skirt, standing in a grand hallway with ornate walls and floors.
What's On

Put on your red shoes and dance: the enduring euphoria of Powell & Pressburger

by Lillian Crawford

A new sea­son organ­ised by the BFI in part­ner­ship with Thel­ma Schoon­mak­er brings many clas­sic Pow­ell & Press­burg­er films – includ­ing new restora­tions – to the big screen once more.
Vibrant painting of a smiling older woman against abstract, colourful background and moody landscape.
Interviews

Thelma Schoonmaker: ‘Powell left a little furnace burning inside of me’

by Lillian Crawford

Ahead of the BFI’s land­mark Pow­ell & Press­burg­er ret­ro­spec­tive, the leg­endary film edi­tor speaks about her rela­tion­ship with Michael Pow­ell, the process of restor­ing film, and how Pow­ell & Press­burg­er influ­enced Killers of the Flower Moon.
A woman performing on stage, dressed in a pink costume and holding a microphone. She is surrounded by backup dancers on a brightly lit stage with a dark background and glowing lights.
Review

Taylor Swift: The Eras Tour review – the story of a lifetime

by Lillian Crawford

The pop princess’s record-break­ing sta­di­um tour comes to the big screen with thrilling results for fans.

5
Anticipation
5
Enjoyment
5
In Retrospect
A woman in glasses and a black coat, standing amidst a group of people wearing white and red uniforms.
Review

La Syndicaliste

by Lillian Crawford

Isabelle Hup­pert stars as the head union rep­re­sen­ta­tive of a multi­na­tion­al nuclear pow­er com­pa­ny in Jean-Paul Salomé’s cor­po­rate drama.

3
Anticipation
2
Enjoyment
2
In Retrospect
A group of smiling and laughing women in colourful, patterned dresses and tops, posing together at a social event.
Review

Greatest Days

by Lillian Crawford

A group of estranged friends reunite for a pop pil­grim­age in Coky Giedroy­c’s dire big screen ver­sion of the offi­cial Take That musical.

1
Anticipation
1
Enjoyment
1
In Retrospect
Two figures, a woman in a fur coat and a man in a hat and coat, standing in an interior setting with a clock on the wall.

Why watch Film on Film?

by Lillian Crawford

The BFI’s first annu­al Film on Film fes­ti­val aims to cel­e­brate and edu­cate on the won­ders of cel­lu­loid, from nitrate and 35mm to 3D.
Close-up of a human face in purple and blue tones, with the eyes filling the frame.
Review

Brainwashed: Sex-Camera-Power

by Lillian Crawford

Nina Menkes’ broad-strokes, reac­tionary inves­ti­ga­tion of the male gaze is more inter­est­ed in cher­ry-pick­ing than it is insight­ful critique.

3
Anticipation
2
Enjoyment
2
In Retrospect