Reggie Yates: ‘We seldom see Black British coming-of-age stories’

By Marina Ashioti

How a love of cars, London and UK garage informed the writer/director’s madcap debut feature, Pirates.

Robert Greene: ‘This film is indictment of how the media portrays survivors’

By Charles Bramesco

The director discusses the complex ethics of his new documentary, Procession, which gives a voice to survivors of sexual abuse.

Céline Sciamma: ‘I would love for someone to make this film into an anime’

By Lillian Crawford

The French maestro on how she’s matured as a filmmaker, and the secrets hidden in her beguiling latest, Petite Maman.

Ryūsuke Hamaguchi: ‘I’ve shot lot of stuff in cars because of Godard’

By Trevor Johnston

The Japanese director explains how he transformed a Murakami short story into the intimate emotional epic, Drive My Car.

Robert Levon Been on scoring The Card Counter

By Paul Weedon

Black Rebel Motorcycle Club’s co-founder reflects on going head-to-head with director Paul Schrader.

Denis Villeneuve: ‘I’m obsessed by the idea that humans can evolve’

By Anton Bitel

Quebec’s modernist sci-fi maestro talks big screens and small gestures, and how he brought the arid world of Arrakis to life.

Lashana Lynch: ‘A lot of nations need to own up to their history’

By Leila Latif

The British star of ear for eye on why the conversation around race needs to extend beyond the Black community.

Jeymes Samuel: ‘Movie westerns have lied to us our whole lives’

By Rogan Graham

The singer-songwriter known as The Bullitts slinks into the role of filmmaker with his super fun revisionist western, The Harder They Fall.

J Mascis: ‘In the early days, venues banned us for being too loud’

By Greg Wetherall

With the release of Freakscene – The Story of Dinosaur Jr, the frontman reflects on the band’s rollercoaster journey.

Sufjan Stevens and Angelo De Augustine on their movie inspirations

By Al Horner

The pair’s new concept album ‘A Beginner’s Mind’ takes its cues from an eclectic list of films, from Mad Max to The Silence of the Lambs.

Sam Spruell: ‘We had to leave set when the polar bears arrived’

By Adam Woodward

The British character actor talks toxic masculinity and filming in sub-zero temperatures for Andrew Haigh’s The North Water.

Tallulah Greive: ‘Working-class women aren’t homogeneous’

By Josh Slater-Williams

The star of the riotous Our Ladies talks classism, taking teens seriously and why Derry Girls comparisons are off base.

Nia DaCosta: ‘Candyman turns the white-saviour narrative on its head’

By Leila Latif

The industrious director reveals how she put a personal stamp on her Jordan Peele-produced refit of a horror classic.

Sian Heder: ‘A disability is only a disability if society makes it so’

By Charlotte Little

The director of CODA discusses working with the Deaf community for her tender coming-of-age drama.

Elia Suleiman: ‘I was a street kid who became a bum – but a thinking bum’

By Trevor Johnston

The Palestinian filmmaker discusses his new film It Must Be Heaven and finding humour in human displacement.

Ben Wheatley: ‘I’ve always been wary of the woods – they can kill you’

By Hannah Strong

The modern master of folk horror reveals the inspiration behind his forest freakout In the Earth.

Joanna Scanlan: ‘I’ve usually done comedy but I’ve never felt that’s me’

By David Jenkins

The great comedy actor explains how she played it straight for Aleem Khan’s moving debut feature After Love.

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About Little White Lies

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.