Sight & Sound articles
1431 - 1440 of 2594 articles
-
Toon of the Month: Pineapple Calamari
Chris Robinson on Kasia Nalewajka’s surrealist portrait of grief at the races, as extraordinary as Vertigo crossed with Creature Comforts.
Friday 25 March 2016 -
From the Magazine
Batman v Superman Dawn of Justice review
Might trumps right, at indomitable length, in Warner Brothers’ latest dim-lit attempt to seed its own superverse, says Kim Newman.
Thursday 24 March 2016 -
Michael Brooke on one of Czech cinema’s most prodigious talents and uncompromising nonconformists, whose career was derailed by the post-1968 repression of the Prague Spring.
Tuesday 22 March 2016 -
Cinema’s depictions of the country’s recent political turmoil has been a whitewash, argues Celluloid Liberation Front.
Saturday 19 March 2016 -
From the Magazine
Film of the week: The Pearl Button
Maria Delgado embraces the contemplative poetry of Patricio Guzmán’s personal and political journey across the history and psyche of his Chilean homeland, in which water serves as an agent of life, freedom, memory, justice – and their opposites.
Thursday 17 March 2016 -
From the open-cast mines to the ghost cities beyond: Jordan Cronk reviews “a portrait of modern-day China built from the blood and sweat of its proletariat class”.
Thursday 17 March 2016 -
Watch the opening five minutes of The Club
An exclusive look at the opening scenes of Pablo Larraín’s new drama about a twilit ‘club’ of guilty Catholic priests.
Wednesday 16 March 2016 -
Thieves in the temple: reframing the archive with Miranda Pennell and Sarah Wood
Sophie Mayer takes flight with the post-colonial, border-transcending archival documentaries of two contemporary British film essayists.
Wednesday 16 March 2016 -
Designing dreams and nightmares: Ken Adam on his finest sets
The late, great movie production designer reflects on his most indelible set constructions, from Dr. No to Dr. Strangelove, in these excerpts from a 2012 interview with Ian Christie.
Monday 14 March 2016 -
Wayfaring nonfiction cinematographer Kirsten Johnson’s first ‘directed’ credit considers the movie camera as bridge to the world, finds Jordan Cronk.
Monday 14 March 2016
1431 - 1440 of 2594 articles
Facebook
Twitter
Instagram
YouTube