In Praise Of | Little White Lies

In Praise Of

Three people seated in a blue vintage car, a woman driving, a boy in the front passenger seat, and another child in the back.
In Praise Of

Scene Stealers: The fraught Shabbat dinner in Licorice Pizza

by Elizabeth Wiart

Paul Thomas Ander­son cen­tres the quin­tes­sen­tial awk­ward fam­i­ly din­ner to delight­ful effect.
Woman poses in front of panoramic view of city skyline and river.
In Praise Of

Oslo through the eyes of Joachim Trier

by Savina Petkova

To cel­e­brate the release of The Worst Per­son in the World, we take a clos­er look at the loca­tions which paint Oslo as a city of one’s own.
Darkened room, figure in bed under patterned bedding.
In Praise Of

Gaslighting, coercion, and the mental health industry in Unsane

by S.L. Page

Steven Soder­bergh’s psy­cho­log­i­cal thriller illus­trates how vul­ner­a­ble women are rou­tine­ly treat­ed by health­care systems.
A group of young men walking down a crowded city street, wearing casual clothing. Buildings and traffic in the background.
In Praise Of

Scene Stealers: The fleet-footed opening of West Side Story

by Charles Bramesco

In our series exam­in­ing the Best Pic­ture con­tenders of 2022, a salute to the easy lyri­cism of Spielberg’s musi­cal remake.
A woman in a red coat stands with arms crossed in a field, with ruins of a building in the background against a cloudy sky.
In Praise Of

Scene Stealers: Piano practice stand-off in The Power of the Dog

by Marina Ashioti

Our series on the most spell-bind­ing moments from 2022’s Best Pic­ture Nom­i­nees con­tin­ues with Jane Campion’s tense take on the Old West.
Close-up of a person wearing military headgear, with a serious expression on their face.
In Praise Of

Scene Stealers: Dinner at the end of the world in Don’t Look Up

by David Jenkins

Mem­bers of the LWLies team write on their favourite moments from the 2022 Best Pic­ture contenders.
Two people, a man and a woman, sitting at a bar, speaking to each other. The man is wearing a dark jacket and the woman has long hair. The lighting is low and moody, creating a cosy, intimate atmosphere.
In Praise Of

Discover the disco-rich soundtrack of a lost 70s crime drama

by Claire Davidson

Long out of print, Richard Brooks’ 1977 crime dra­ma fea­tures a sound­track com­pris­ing some icon­ic artists of the era.
Two people in formal attire dancing on a stage with dark background and spotlight.
In Praise Of

Why I love Julie Andrews’ performance in Victor/Victoria

by Sabrina Cooper

Blake Edwards’ gen­der-bend­ing com­e­dy from 1982 shows anoth­er side to the beloved actor’s range.
A young woman wearing a green jacket and jumper sits in an armchair surrounded by autumn leaves.
In Praise Of

In praise of Juno’s whimsical folk-pop soundtrack

by Hester Underhill

Fea­tur­ing deep cuts from The Moldy Peach­es and The Kinks, the sound­track to Jason Reitman’s teen preg­nan­cy com­e­dy still holds up.
A woman in a white blouse and dark skirt sits reading a book in a library setting with bookshelves in the background.
In Praise Of

The radically non-binary nature of Sally Potter’s Orlando

by Sam Moore

Thir­ty years after it was released, the British director’s take on Vir­ginia Woolf’s nov­el is a pow­er­ful study of self-identity.