In Praise Of | Little White Lies

In Praise Of

In Praise Of

Why I love Rebecca Hall’s performance in Christine

by Caroline Madden

In her haunting depiction of Christine Chubbock, I recognised elements of my own experience with depression and isolation.
In Praise Of

Why I love Robin Williams’ performance in The World According to Garp

by Richard Brownell

Forty years on, one of Robin Williams’ earliest film roles still ranks among his best work.
In Praise Of

How the dynamic editing of Don’t Think sets the bar for concert films

by Callie Petch

Adam Smith creates a disorientating, immersive experience through innovative camera work and editing in The Chemical Brothers: Don’t Think.
In Praise Of

Climbing the company ladder means a lot of bootlicking in I Was Born, But…

by Blaise Radley

Ninety years on, Yasujirō Ozu’s silent comedy about familial disillusion still makes salient points about life under capitalism.
In Praise Of

In praise of Isabel Sandoval

by Lillian Crawford

Though her work remains undistributed in the UK, her superb film and TV episodes show an immense and unique talent on the rise.
In Praise Of

Revisiting Le Havre’s portrait of the migrant crisis 10 years on

by Bora Rex

Aki Kaurismäki’s drama remains sadly relevant as refugees and migrants face perilous journeys and human rights abuses in search of better lives.
In Praise Of

Why I love Kathy Bates’ performance in Misery

by Lucy Vipond

In her breakthrough lead role, Bates plays a reclusive nurse who takes her fandom to horrifying extremes.
In Praise Of

Why Citizen Ruth has never felt more prescient

by Collin Preciado

As Roe v. Wade is controversially overturned, we revisit Alexander Payne’s dark satire of the American abortion lobby.
In Praise Of

Why Imagine Me & You deserves to be remembered as a queer rom-com classic

by Chloe Smith

Ol Parker’s story of a meet-cute between a bride and a florist shows that the LGBTQ+ community deserve their own rom-com canon.
In Praise Of

Why I love Stephen Rea’s performance in The Crying Game

by Eleanor Brady

Three decades since its release, Neil Jordan’s thriller about The Troubles remains a crucial and complex piece of Irish cinema.

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