The filmmaker and his daughter Eden accompany Iain Sinclair on a voyage north, bearing a talisman that radiates with psychic energy, writs Ben Nicholson.
In this feature originally published in our August 1997 issue, Marina Warner explores Lynch’s byzantine thriller, a film whose shadow stealing and spirit doubling goes beyond Blue Velvet to the edge of identity itself.
In this piece from our September 1995 issue, Peter Wollen revisits Nicolas Roeg and Donald Camell’s Performance, starring Mick Jagger and James Fox, and finds the apotheosis of the high 1960s in its heady collision of East End crime and libertine Chelsea bohemia.
Like every other part of life, the business of making and showing films has been disrupted in extraordinary ways – and nobody knows what the future will bring, reports Guy Lodge.
To mark the publication of Christina Newland’s new collection of women’s film writing She Found It at the Movies, here’s her manifesto for a proudly subjective, impressionistic and lusty female film criticism, from our October 2017 issue.
Nora Fingscheidt’s powerful debut exposes a system unable to cope with a young girl removed from her mother’s care and prone to fits of uncontrollable rage, by Nikki Baughan.
While we’re all in isolation, BFI Flare and the British Council’s latest annual compilation of new queer shorts makes a great window on the world, and its newly pressing questions of privacy and outreach, says Ben Walters.
The British cinematographer Roger Deakins is one of the greatest artists of light and shade in movie history. Joshua Rothkopf picks ten shots that show off different facets of his greatness.