Interviews | Little White Lies

Interviews

Black and white line drawing of a person with wavy shoulder-length hair, round spectacles, and gentle facial features on textured background.
In Conversation

Kelly Reichardt: ‘I’m fascinated with people stealing art’

by David Jenkins

Robert Bresson, Warren Oates and Jean-Pierre Melville are just some of the ingredients of The Mastermind, an existential heist movie with a political twist.
Portrait drawing with two overlapping female figures - larger black and grey pencil sketch on left, smaller red sketch on right.
In Conversation

Eva Victor: 'I used the title as a way to reward myself once I wrote it'

by Sophie Monks Kaufman

The writer/​director/​star of festival sensation, Sorry, Baby, on bellybutton piercings and finding a sombre humour and reflection in the subject of sexual abuse.
Coloured pencil portrait of woman with grey hat, pink collar, and white cardigan on wooden surface beside black, beige, and red pencils.
Interviews

Athina Rachel Tsangari: 'It’s about how easily the narcissism of artists can turn into a tool in the hands of power'

by David Jenkins

The industrious and passionate Greek filmmaker on her subtly apocalyptic new work, Harvest.
An elderly man with white hair and a stern expression, sitting in a chair and holding a camera.
Interviews

David Cronenberg: 'You don’t want to bore peo­ple with how sad you are'

by Hannah Strong

As The Shrouds finally debuts in UK cinemas, the master of the macabre gets personal about grief.
Illustration of a smiling Daisy-May Hudson by Judith P. Raynault
Interviews

Daisy-May Hudson: ‘I want to make films that crack people’s hearts open’

by Katherine McLaughlin

The ambiguous and sometimes tragic nature of motherhood is the subject of writer/​director Daisy-May Hudson’s forceful debut, Lollipop.
Colourful gallery wall with framed paintings, sculptures, and a man sitting in an armchair.
Interviews

Wes Anderson: ‘You’re hoping for the right accident’

by Hannah Strong

We speak to the mastermind behind The Phoenician Scheme about family, fathers-in-law, and the great, grand plan of all things Wes Anderson.
A portrait of a serious-looking Black man with short, curly hair, wearing a light-coloured shirt against a background of greenery.
Interviews

Monica Sorelle: ‘I’m working through my grief about Miami changing so rapidly and violently’

by Juan Barquin

As her debut receives a UK première as part of the BFI’s Black Debutants season, Miami filmmaker Monica Sorelle reflects on the making of Mountains.
Interviews

Ryan Coogler: ‘I’m more confident in my film language than I am in my English’

by Kambole Campbell

Ryan Coogler reflects on developing a story rooted in personal passions with his grand, IMAX-shot thriller, Sinners.
Interviews

Joshua Oppenheimer: ‘The End is an artefact of barbarism’

by Lucy Peters

How the doc maestro turned his hand to (musical!) fiction in his compelling and singular new film, The End.
Interviews

Vera Drew: ‘At least they’re not saying “banned filmmaker” anymore’

by Juan Barquin

As The People’s Joker finally goes global, the maverick filmmaker behind the wildest superhero film of the year sounds off about microbudget filmmaking, the trans canon, and Joker 2.

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