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Ron Peck’s Nighthawks survives as much more than a historical document of gay life in a bygone era.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.
By James Oddy
Lindsay Anderson’s exhilarating look at the psyche of rugby league player has lost none of its emotional punch.
By Nadia Latif
A recent conference highlighted the urgent need to promote diversity across the UK industry.
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.
