The visionary Indian director behind modern cult favourite The Fall reflects on the film finding its audience after 17 years, and the production of Dear Jassi – his first feature film in almost a decade.
By Xuanlin Tham
Celebrating its 30th anniversary, Tsui Hark's take on a Chinese folktale is a breathtaking allegory for our inhospitable world.
By Nora Murphy
Emma Seligman's Bottoms promises a queer female fight club – how does it perform in the canon of films about women carving out space for themselves in hyper-masculine worlds?
By Meg Walters
With more and more women taking an active role in film production, depictions of young women are changing. What can they tell us about the modern world?
With our galactic neighbours in the news as of late, it's a good time to look back at half a century of cinema about the potential for inter-planetary friendships (or not).
An excellent crop of debut films in the past couple of years all explore painful childhoods. What does this say about the interests of the British film industry?
The intrepid British director on being one of the first people to lay their eyes on the archives of the late artist Audrey Amiss – subject of Typist, Artist, Pirate, King.
Two decades after its release, Guy Maddin's eccentric Prohibition era satire speaks to a contemporary obsession with corporatising pain.
From La La Land to Past Lives, filmmakers are still drawing inspiration from the vivid emotional worlds of Jacques Demy. What is it about his films that continues to inspire directors?
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.
Speaking at the global press conference for Killers of the Flower Moon, Martin Scorsese provides insights into his research process and use of music, as well as discovering Lily Gladstone via Kelly Reichardt's Certain Women.
By Paul Risker
Across seven decades, Martin Scorsese has been constructing his own vision of the United States' bloodstained mythology.
Nathan Fielder and Emma Stone star as an unscrupulous property developing couple who find themselves cursed by a small child in this A24 and Showtime collaboration.
By Anton Bitel
Cannibals, ghosts, demons and housewives are on the schedule for this special spooky season round-up of all the latest in Blu-Ray and DVD releases.
By Simon Bland
The Drive director reflects on smuggling Bronson’s actual moustache out of prison and the personal story behind his ethereal biopic of the UK’s most notorious inmate.
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.
The famed photographer turns his hand at filmmaking with a study of extreme trauma and slow healing in The After.
For the last decade, a small group of video editors have spent hours toiling over concept trailers, delighting and duping fans eager to catch a sneak peek of an upcoming film.
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.
