The writer/director of Glass Onion talks musicals, murder mysteries, and the sartorial secrets of master detective Benoit Blanc.
The Italian director behind A Bigger Splash, Call Me By Your Name and Suspiria talks flies, flesh and Timothée Chalamet in his horror-romance Bones and All.
The director of Armageddon Time reflects on how his childhood inspired his deeply affecting drama about societal tensions in 1970s New York.
The Scottish filmmaker behind breakout indie Aftersun explains the complex process of portraying memory in cinema.
LWLies speak to the director of the outrageous farce, Dodo, at the the 2022 Thessaloniki Film Festival.
The Chilean director on the very contemporary political and philosophical questions at the core of literary period piece, The Wonder.
By Callie Petch
The co-director of the weird and wonderful stop motion modern classic ParaNorman reflects on the film's legacy a decade later.
By Ella Kemp
The two-time Palme d'Or-winning provocateur chats idealism, misogyny and modeling as Triangle of Sadness hits cinemas.
By Simon Bland
Creator Stephen Volk and director Lesley Manning reflect on the chaos and unlikely impact of their meta-Halloween horror.
The stars of Martin McDonagh's latest reflect on their reunion on the islands of Inishmore and Achill, the scars of the Irish Civil War, and the weight of artistic legacy.
By Iana Murray
The incomparable South Korean filmmaker reflects on his dreamy neo-noir, Decision to Leave.
She delivers arguably one of the greatest performances in a Park Chan-wook film, but how did Tang Wei build the enigmatic suspected murderer, Seo-rae?
For rope access and rigging expert Ollie Laker, filming high above the trees is just another day at the office.
In his first novel since being named one of Granta’s Best Young American Novelists in 2017, Anthony Marra turns his attention to old Hollywood.
A dialogue with the humble, perspicacious and very funny director of one of the film masterpieces of the 21st century.
By Emma Fraser
The filmmaker, writer and actor talks about the long journey to adapt the medieval coming-of-age dramedy Catherine, Called Birdy.
Eddie Sternberg discusses the risks and challenges of expanding his 2015 short into a feature-length film.
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.
