By Rógan Graham
A-Level results day gives way to a compelling look at late teenhood in Sasha Nathani’s London-set debut feature.
The intrepid British director on being one of the first people to lay their eyes on the archives of the late artist Audrey Amiss – subject of Typist, Artist, Pirate, King.
By Meg Fozzard
Now in its second year, the BFI’s moving-image showcase centres Disabled filmmaking talent and their vital stories.
By Jamison Kent
Antonia Campbell-Hughes’ compelling feature debut offers a moody account of hometown Stockholm syndrome and repressed emotion.
Paul Mescal doesn’t quite nail his role as a depressed young father in this emotionally furtive debut drama from Charlotte Wells.
The British writer/director’s lesbian romance will cap off this year’s LFF on 17 October.
By Katie Goh
Ron Peck’s Nighthawks survives as much more than a historical document of gay life in a bygone era.
This slow-burn folk horror set in old, weird England marks the auspicious return of talented British director Thomas Clay.
Cosmo Jarvis shines in this portrait of flawed, inarticulate masculinity by first-time feature director Nathalie Biancheri.
By Tom Bond
Pete Mackie Burns' first rate follow-up to Daphne explores the repressed homosexuality of a shy dock worker.
By Luís Azevedo
Lesser-known works that broke the mould, from Kenneth Macpherson’s Borderline to Sally Potter’s Orlando.
By Iana Murray
This year’s EIFF showcased a diverse crop of homegrown films, from a monochrome Cornish curio to a love letter to Dundee.
By Max Ramsay
The pioneering British filmmaker’s final work remains a profoundly personal and poetic work.
By Tom Beasley
Coastal towns have long been a source of nostalgia on screen, but this setting has come to signify something else in recent years.
The producer of Born a Rebel speaks about the challenge of documenting more than a century of female protest.
Shelagh Delaney’s voice stood out from the angry young men who dominated British cinema in the mid 20th century.
By Lou Thomas
Contemporary stories offering a diverse mix of authentic, recognisable London voices.
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.
