In Praise Of | Little White Lies

In Praise Of

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.
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.
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.
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.
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.
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.
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.
In Praise Of

In praise of Frances Marion – Hollywood’s forgotten trailblazer

by Oliver Webb

This International Women’s Day, we remember the screenwriter who gave Hollywood its voice during the silent era.
In Praise Of

Why Philadelphia remains a flawed but vital portrayal of the AIDS crisis

by Adam Solomons

Jonathan Demme’s 1993 drama played an important role in bringing straight audiences up to speed with the epidemic.
In Praise Of

In praise of Nora Ephron’s feature debut, This is My Life

by Chloe Walker

Celebrating its 30th anniversary this year, Ephron’s underseen first feature proves her strength as a writer and filmmaker.

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