In Conversation

Carol Morley: “I could tell straight away that Audrey Amiss was a completely fascinating person”

By David Jenkins

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.

‘Tom understood this wasn’t a film about being tough, it was about fairies’ – Nicolas Winding Refn on Bronson at 15

By Simon Bland

The Drive director reflects on smuggling Bronson’s actual moustache out of prison and the personal story behind his ethereal biopic of the UK’s most notorious inmate.

Thelma Schoonmaker: ‘Powell left a little furnace burning inside of me’

By Lillian Crawford

Ahead of the BFI's landmark Powell & Pressburger retrospective, the legendary film editor speaks about her relationship with Michael Powell, the process of restoring film, and how Powell & Pressburger influenced Killers of the Flower Moon.

Misan Harriman: “There is grace in the process of having open wounds.”

By David Jenkins

The famed photographer turns his hand at filmmaking with a study of extreme trauma and slow healing in The After.

Matt Johnson: “People say ‘Now you’ve got to make the Twitter movie'”

By Simon Bland

The writer, director and co-star of BlackBerry – an irreverent take on the rise and fall of a tech giant – reflects on his third feature while making his way across Toronto.

Inside the grassroots biking movement at the heart of If The Streets Were On Fire

By Henry Boon

Alice Russell's new documentary captures the work of Bikestormz, a passionate community of cyclists aiming to promote community among some of the capital's most disenfranchised kids.

Pedro Almodóvar: ‘Chemistry is a mystery’

By Anna Bogutskaya

The Spanish filmmaker reflects on the romance at the heart of his new queer western, Strange Way of Life, and the freedom of working in a shorter format.

Isaac Nabwana: ‘We should tell our own stories in the way we want’

By Kambole Campbell

The wildly imaginative and highly resourceful filmmaker behind Uganda's ultra low budget studio Wakaliwood describes his own cinematic education, travelling to China to shoot Shaolin monks, and the next generation of African filmmakers.

How Khadija Zeggaï created the most fashionable film of the year

By Kerensa Cadenas

Ira Sachs' latest drama features steamy sex, passionate rows, and some of the best cinematic knitwear in years. We speak to the film's costume designer to find out how the film developed its signature style.

Louis Garrel: ‘When you make an action scene, there’s this tendency to think, “Let’s do it like Heat or Scarface”’

By Elena Lazic

The French star discusses The Innocent, his fourth feature film as a director and a quintessentially French hybrid of romantic comedy and heist thriller.

Harris Dickinson: ‘It was actually quite scary improvising with Lola’

By Hannah Strong

The Scrapper star on getting into character, upsetting the make-up department and improvising opposite a tenacious 11-year-old.

“The emotional part overwhelmed me” – Catherine Hardwicke on Thirteen at 20

By Simon Bland

Partially inspired by the turbulent home life of one of its stars, this hard-hitting coming-of-age drama still packs a punch – even for director and co-writer Catherine Hardwicke.

Bette Gordon: ‘Between female desire and gratification lies a space full of possibilities’

By Anna Bogutskaya

As Variety returns with a 2K restoration, Bette Gordon reflects on the making of a cult classic, her love for ‘80s New York and her friendship with Nan Goldin.

Alice Winocour: ‘Post-traumatic memory is something very specific’

By Hannah Strong

The French filmmaker on the nuances of recreating a real-life terrorist attack in her reflective new film, Paris Memories.

Jason Schwartzman: ‘Working with Wes so long, it really has become like we’re brothers’

By Hannah Strong

The long-time collaborator and star of Wes Anderson's Asteroid City speaks on their enduring friendship, Stanley Kubrick, and learning to talk without moving your mouth.

Wes Anderson: ‘I am drawn to mystery’

By Sophie Monks Kaufman

The maestro behind Asteroid City leaves a voice note for LWLies, reflecting on naming conventions, sci-fi films, and working with his best friends.

Emile Mosseri and Joe Talbot: ‘We’re just following the feeling of what we like’

By Kambole Campbell

To celebrate the release of Emile Mosseri's new album, he sat down with old pal and collaborator Joe Talbot for a chat about Tupac, George Constanza, and swimming in LA lakes.

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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.

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