Why I Love... | Little White Lies

Why I Love...

Three smiling women in pink and purple formal dresses at a party or event.
Why I Love...

Why Aishwarya Rai in Bride and Prejudice is the best Elizabeth Bennet

by Yasmin Vince

She might not be as well known as Keira Knight­ley or Jen­nifer Ehle, but Aish­warya Rai lights up the screen in Gurinder Chad­ha’s 2004 Austen adaptation.
A man in a suit kneeling over a person lying on the ground in a dark, wooded setting. The scene is lit by vibrant pink lighting.
Why I Love...

Why A Matter of Life and Death is my favourite coming-of-age film

by Bella Madge

Although Pow­ell and Press­burg­er’s 1946 fan­tas­ti­cal war romance might not be the first film that springs to mind as a bil­dungsro­man, it offers a pow­er­ful guid­ing sentiment.
Two individuals, a woman with short dark hair covering her face and a woman with long blonde hair, standing against a turquoise and white abstract background.
Why I Love...

Why I love Lindsay Lohan in Freaky Friday

by Sarah Cleary

20 years on, her per­for­mance as an uptight busi­ness­woman trapped in the body of her teenage daugh­ter is still among the best Dis­ney has to offer.
Two women in leather jackets and hats against a blue background with a pier in the distance.
Why I Love...

Why I love a Seaside Weepie

by Lee Penfold

This sub­genre of British film makes use of the many coastal beach towns around the UK – but often con­trasts hol­i­days and relax­ing with char­ac­ters expe­ri­enc­ing some sort of crisis.
Stylised pink cat-like creature with wings perched on a decorative frame against a blue and turquoise background.
Why I Love...

Why I love the queerness of Bugs Bunny

by Esmé Holden

Looney Tunes’ icon­ic rab­bit hero might not have been con­sid­ered a queer icon dur­ing his hey day, but with hind­sight he takes on a new meaning.
Three young adults in a colourful, moody image.
Why I Love...

Why I love investigative journalism cinema

by Shivani Dubey

The sto­ries of intre­pid reporters search­ing for the truth against oppres­sive forces serve not only as enter­tain­ment, but a reminder that such work con­tin­ues to be vital.