Twenty-five years on from the premiere of In the Mood for Love, Wong Kar Wai looks back on the complicated genesis of his masterpiece of desire and restraint.

Pedro Pascal and Emma Stone’s comic talents are lost to one-dimensional roles in a misguided pandemic satire filled with dated jokes and disingenuous political messaging.

The German director’s gorgeous, drifting study of a woman taken in by a stranger after a car crash has faint echos of Vertigo, but is more concerned with unnerving family dynamics than romance.

Before Lost in Translation there was Tokyo Pop, which – after decades in rights limbo – is now restored and ripe for reappraisal. We speak to director Fran Rubel Kuzui (Buffy the Vampire Slayer) about ...

Not much is said on the father-daughter hiking trip that takes place in India Donaldson’s slow-burn drama Good One, but it’s the silences that tell us most about the growing rift between parent and ...

A world exclusive interview with Tom Cruise Inside: The latest edition of Black Film Bulletin, Wes Anderson on The Phoenician Scheme, The career of Mai Zetterling, the legacy of the Film Society, arch ...

The Final Destination franchise has had many unconvincing endings, but the latest resuscitation of the series is filled with gallows humour and fan-friendly callbacks, including the infamous logging ...

In 1951, the Swedish actress and soon-to-be groundbreaking director – who was born 100 years ago this May – wrote about the craft of film acting, and especially its relationship to stage acting.

As her latest film Magic Farm is released in cinemas, our new series on peak performances looks at Chloë Sevigny’s nervily vigilant partygoer in Whit Stillman’s razor-sharp comedy about the New York ...

The BFI Fellowship recognises Cruise’s achievements as an extraordinary, versatile actor and his huge contribution to the UK film industry as a producer.

In this playful performance film, Icelandic singer Emilíana Torrini performs a set of songs inspired by a collection of real-life 1960s love letters discovered after the recipient’s death in 2018.

The French director’s mid-length homage to his own filmmaking presents a funny and provocative collage of cinema history, politics, and artistic introspection.