Features

Tyler Taormina: ‘The soundtrack is one of the germinating seeds of the work’

By David Jenkins

Christmas Eve in Miller’s Point is a Yuletide classic in the making, and its director has a sincere fondness for the holiday season.

Trauma ripples through time at the London Film Festival

By Erin Mussett

Jesse Eisenberg, Malcolm Washington and Christopher Andrews explored the diverging manifestations of generational trauma at this year's London Film Festival.

The transportive beauty of modern magical realism

By Nadia Maria Oliva

In two of 2024's best films – Bird and On Becoming A Guinea Fowl – reality blurs with fantasy when the world becomes too cruel to stand.

When did theatre become so reliant on film?

By Holly Williams

With screen-to-stage adaptations popping up in the West End every week, what's caused the theatre world to rely so heavily on cinema for source material?

The engrossing ’90s nonsense of Denzel Washington

By Chloe Walker

One of the greatest actors of all time found a compelling niche starring in some of the decade's zaniest high-concept thrillers.

Greek Cinema Now: A Postcard from the Thessaloniki Film Festival

By Rafa Sales Ross

While the likes of Yorgos Lanthimos and Athina Rachel Tsangari have gone travelling the world, what’s going down on the Greek home front?

Taking stock of Japanese cinema at Tokyo International Film Festival

By Hannah Strong

The biggest celebration of cinema in Japan shows promise as an event in the city's cultural calendar.

Franz Rogowski: ‘If you talk about birds, you always talk about ethereal energy’

By Savina Petkova

The German star unlocks the process of deep immersion that led him to discovering his character in Andrea Arnold's Bird.

Barry Keoghan: ‘I have my own method; I’m still learning and discovering’

By David Jenkins

The role of charismatic chancer Bug in Andrea Arnold's Bird feels like a victory lap for Hollywood's most unlikely new darling.

Andrea Arnold: ‘I’m very interested in the sensual world’

By Nia Childs

One of Britain's foremost chroniclers of life in the economic margins opens up about the pressures of modern filmmaking and her desire to let audiences take what they want from her films.

Missing Child Videotape – first-look review

By Hannah Strong

Kondo Ryota's debut feature is a chilling ghost story that begins with a videotape – but that's where the similarities to Ringu end in this impressive new J-Horror.

Inside the fight to make Audio Description a non-negotiable part of the film industry

By Emma Cieslik

A crucial tool for visually impaired cinema lovers yet often undervalued by the industry, it's about time that audio description's worth is heard.

Teki Cometh – first-look review

By Hannah Strong

An elderly man plans the final year of his life in Daihachi Yoshida's impressive adaptation of Yasutaka Tsutsui's novel.

Route 29 – first-look review

By Hannah Strong

A standoffish young woman embarks on a road trip with an unusual 12-year-old girl in Yusuke Morii's offbeat sophomore feature.

11 Rebels – first-look review

By Hannah Strong

Kazuya Shiraishi polishes off a 60-year-old script for this bloodthirsty samurai epic about a band of criminals recruited to defend a castle from the emperor's army during the Boshin War.

Can watching porn in public change perceptions of sex work?

By Billie Walker

Erika Lust's C*m With Me tour celebrates 20 years of the filmmaker's work, but how can welcoming porn back into cinemas challenge audience attitudes?

In praise of Stan Brakhage’s most disturbing film document

By Tyler Thier

This Halloween, no body horror fiction can compare to the haunting revelations of Brakhage's 32-minute film The Act of Seeing with One's Own Eyes.

‘I watched the film crash and burn at the box office’ – Jang Joon-hwan on Save The Green Planet!

By James Balmont

The director of the cult classic Korean wave sci-fi comedy reflects on his wild debut two decades on, and the forthcoming remake from Yorgos Lanthimos.

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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.

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