Features and reviews

Discover the latest from the BFI, the UK’s lead organisation for film, television and the moving image.

Interviews

It rained on the Sunday: a career interview with Roger Corman

Previously unpublished stories and reflections on the changing movie industry from Roger Corman, the legendarily resourceful producer, director, career-launcher and ’King of the B’s’ who has died aged 98.

By Matthew Thrift

It rained on the Sunday: a career interview with Roger Corman

Interviews

Peel slowly and see... The return of Billy Connolly: Big Banana Feet

By Leigh Singer

Peel slowly and see... The return of Billy Connolly: Big Banana Feet

Interviews

“Neorealism is part of our DNA as Italians”: Paola Cortellesi on There's Still Tomorrow

By Jonathan Romney

“Neorealism is part of our DNA as Italians”: Paola Cortellesi on There's Still Tomorrow

Interviews

Scene by scene with Hélène Louvart, one of the world’s great cinematographers

By Rachel Pronger

Scene by scene with Hélène Louvart, one of the world’s great cinematographers

Interviews

Leila and the Wolves 40th anniversary: Heiny Srour on her time-travelling tale of Arab womanhood

By Elhum Shakerifar

Leila and the Wolves 40th anniversary: Heiny Srour on her time-travelling tale of Arab womanhood

Interviews

Pat Collins on his John McGahern adaptation That They May Face the Rising Sun

By Georgia Korossi

Pat Collins on his John McGahern adaptation That They May Face the Rising Sun

From the Sight and Sound archive

“I have never felt accepted as a director”: Lindsay Anderson interviewed in 1989

By Gerald Pratley

“I have never felt accepted as a director”: Lindsay Anderson interviewed in 1989

Interviews

Kirsten Dunst and Alex Garland on Civil War: “I don’t feel any need to add to the number of films that spell everything out”

By Lou Thomas

Kirsten Dunst and Alex Garland on Civil War: “I don’t feel any need to add to the number of films that spell everything out”

Interviews

Girls State: what we learned when teenage girls were put in charge of everything

By Faye D. Effard

Girls State: what we learned when teenage girls were put in charge of everything

Interviews

Silver Haze: how we made our arson-attack survivor drama

By Leigh Singer

Silver Haze: how we made our arson-attack survivor drama

From the Sight and Sound archive

Naked miracles: Lars von Trier on Breaking the Waves

By Stig Björkman

Naked miracles: Lars von Trier on Breaking the Waves

Interviews

Alice Lowe on her time-skipping mortality comedy Timestalker: “Why don’t we make more fantastical things in the UK?”

By Lou Thomas

Alice Lowe on her time-skipping mortality comedy Timestalker: “Why don’t we make more fantastical things in the UK?”

Interviews

Robot Dreams: how we made our animated love letter to 1980s New York

By Lou Thomas

Robot Dreams: how we made our animated love letter to 1980s New York

Interviews

The Summer with Carmen: Zacharias Mavroeidis on his metafictional gay comedy

By Georgia Korossi

The Summer with Carmen: Zacharias Mavroeidis on his metafictional gay comedy

Interviews

“Everything was ass-backwards”: Griffin Dunne on shooting After Hours with Martin Scorsese

By Brogan Morris

“Everything was ass-backwards”: Griffin Dunne on shooting After Hours with Martin Scorsese

Interviews

Onir on landmark Indian gay film Pine Cone: “Despite being the world’s largest filmmaking country, not even 1% of our films tackle queer themes”

By Arun A.K.

Onir on landmark Indian gay film Pine Cone: “Despite being the world’s largest filmmaking country, not even 1% of our films tackle queer themes”

Interviews

Banel & Adama: Ramata-Toulaye Sy on her Senegalese love story turned cautionary tale

By Rachel Pronger

Banel & Adama: Ramata-Toulaye Sy on her Senegalese love story turned cautionary tale

Festivals

Layla: Amrou Al-Kadhi on their sparkling drag queen romance

By Lou Thomas

Layla: Amrou Al-Kadhi on their sparkling drag queen romance

Interviews

Chasing Amy and the LGBTQIA+ community: “There’s no consensus on this movie. It remains complicated to a lot of people”

By Josh Slater-Williams

Chasing Amy and the LGBTQIA+ community: “There’s no consensus on this movie. It remains complicated to a lot of people”

Interviews

Edge of Summer: Lucy Cohen on her dreamy Cornish holiday coming-of-age drama

By Jamie Dunn

Edge of Summer: Lucy Cohen on her dreamy Cornish holiday coming-of-age drama

Interviews

“Unsuitable for females”: Copa 71 and the story of the unofficial Women’s World Cup

By Faye D. Effard

“Unsuitable for females”: Copa 71 and the story of the unofficial Women’s World Cup

From the Sight and Sound archive

“You can’t let the audience get ahead of you”: Raoul Walsh interviewed in 1972

By James Childs

“You can’t let the audience get ahead of you”: Raoul Walsh interviewed in 1972

Interviews

“I love any animation style that’s got a tactile feel to it”: talking to Harry Plowden, a new voice in British animation

By Jez Stewart

“I love any animation style that’s got a tactile feel to it”: talking to Harry Plowden, a new voice in British animation

Interviews

The City of God phenomenon: a new interview with Fernando Meirelles

By Sam Wigley

The City of God phenomenon: a new interview with Fernando Meirelles

Interviews

Stephen Fry on his new Holocaust survivor drama Treasure: “A script can be idea-shaped or human-shaped. This was human-shaped”

By Lou Thomas

Stephen Fry on his new Holocaust survivor drama Treasure: “A script can be idea-shaped or human-shaped. This was human-shaped”

World of influence

From The Descent to Caspar David Friedrich: the influences on Stone Age horror Out of Darkness

By Sam Wigley

From The Descent to Caspar David Friedrich: the influences on Stone Age horror Out of Darkness

Interviews

“Why does a guy like me dream about making a western?”: Lisandro Alonso on Eureka

By Arjun Sajip

“Why does a guy like me dream about making a western?”: Lisandro Alonso on Eureka

Interviews

How Britain got its groove back: the return of Cymande

By Leigh Singer

How Britain got its groove back: the return of Cymande

Interviews

“The scale of any project is secondary – it’s always about the quality of the writing”: Cillian Murphy on Small Things like These

By Sinéad Gleeson

“The scale of any project is secondary – it’s always about the quality of the writing”: Cillian Murphy on Small Things like These