The 37-minute Le Pupille joins a group of rebellious youngsters spending the holidays at their boarding school.
By Anton Bitel
This blood-soaked South Korean sequel picks up where The Witch: Part 1 left off, with a pair of supernatural twins causing havoc.
The classic romantic drama starring Kevin Costner and Whitney Houston offers more than retro amusement value.
By Anton Bitel
Sammo Hung stars as a hapless amateur detective in Wu Ma's classic comedy caper.
By Tom Joudrey
80 years on, Michael Curtiz's romantic drama retains a defiant spirit more relevant to our current political climate than it might first appear.
The writer/director of Glass Onion talks musicals, murder mysteries, and the sartorial secrets of master detective Benoit Blanc.
By Emma Curzon
A well-curated selection of genres and themes made for a diverse and fascinating programme at this year's festival.
The world lurches toward a postmodern end in Noah Baumbach's adaptation of Don DeLillo's essential novel.
The Italian director behind A Bigger Splash, Call Me By Your Name and Suspiria talks flies, flesh and Timothée Chalamet in his horror-romance Bones and All.
By Ryan Gaur
Hayao Miyazaki's porcine aviator and Guillermo del Toro's little wooden puppet demonstrate the importance of resistance in the face of extremism.
Charlotte Wells, Joanna Hogg and Mia Hansen-Løve explore the relationship between family and grief in their latest works.
Recapping the mad ’90s hospital-based horror-comedy in anticipation of its long-awaited third series, The Kingdom Exodus.
By Eric Millman
Available in English for the first time in nearly 50 years, the legendary actor's culinary memoir reveals a passion rarely seen in his films.
The director of Armageddon Time reflects on how his childhood inspired his deeply affecting drama about societal tensions in 1970s New York.
Steven Soderbergh directs the third installment of the male-stripping saga as Mike brings his talents to London.
The Scottish filmmaker behind breakout indie Aftersun explains the complex process of portraying memory in cinema.
With its acerbic script and anachronistic flourishes, Peter Greenaway’s 1982 film is as fresh and funny as ever.