1991
Issue 1
May 1991
Main Cover
A partial eclipse of the Sun: Tony Rayns on Japanese cinema and the UK<BR>
Killing men: Amy Taubin on serial killers<BR>
The story of the eye: interview with Ed Lachman, Hanif Kureshi's DP<BR>
Books: Lust for lives - Hollywood biographies<BR>
Niche work i
Issue 2
June 1991
Main Cover
Rooms without a view: article on redundancy of E. M. Forster adaptations in the 90s<BR>
Every time we say goodbye: Why cinema in the century of unprecedented travel?<BR>
Paradiso lost: Morando Morandini article on Italian cinema and interview with Pupi Av
Issue 3
July 1991
Main Cover
The beauty of the beast: Ginette Vincendeau on La Bete humaine<BR>
Pride and prejudice: article on perceived 'low art' of ads and pop promos<BR>
Road works: roads to freedom - a different perspective on Thelma and Louise, plus Ridley Scott interviewed by
Issue 4
August 1991
Main Cover
Flipper purify and furious styles: new wave of African-American cinema and John Singleton interview<BR>
Soul to soul: Isaac Julien interview on Young Soul Rebels<BR>
Moving Stories: article and interview with Xavier Koller about Journey of Hope by Mark Ke
Issue 5
September 1991
Main Cover
Requiem for a rave: Hanif Kureishi on London Kills Me<BR>
Theatre of memory: article on Bertolucci's The Spider's Stratagem<BR>
Dreaming in the light: Hugh Hudson on David Lean<BR>
Nietzsche's boy: J. Hoberman on Arnold Schwarzenegger<BR>
Ritwik Ghatak an
Issue 6
October 1991
Main Cover
Damning desire: Derek Jarman interview on Edward II, and Colin McCabe article<BR>
Tasteful tales: article on Todd Hayne's Poison<BR>
Whose television is it anyway?: broadcasting and cultural rights<BR>
Kane: for and against: Andrew Sarris on 50th annivers
Issue 7
November 1991
Main Cover
Eating children is wrong: mob movies from Scarface to New Jack City<BR>
Identity Parade: article on David Mamet and Homicide<BR>
Small pleasures: article on Screen One and the TV movie format<BR>
His ain man: Mamoun Hassain on Bill Douglas<BR>
Spiking the
Issue 8
December 1991
Main Cover
Nobody's handmaid: article on importance of Jodie Foster<BR>
Tokyo stories: Tony Rayns on Tetsuo 2 and Japanese censorship<BR>
Apocalypse soon: post-franchise television<BR>
Grand illusions: Ian Christie on Cecil B. DeMille<BR>
Licensed infidelities: set
1992
Issue 9
January 1992
Main Cover
Objects of desire: interview and article on Gus Van Sant's My Own Private Idaho<BR>
Not the classic serial: Do novels such as The Men's Room and Clarissa make good television?<BR>
Always the outsider: Doris Dorrie interview<BR>
Double lives: Bunuel and Be
Issue 10
February 1992
Main Cover
Sacred and profane: article on Scorsese's Cape Fear by J. Hoberman<BR>
Hall of mirrors: Jonathan Romney on set with Raul Ruiz<BR>
Homelands: interview with Palestinian directors Michel Khleifi and Omar Al-Qattan<BR>
John and Oliver's bogus adventure: arti
Issue 11
March 1992
Main Cover
David Cronenberg: The wrong body by Amy Taubin; fatal knowledge by Micheal O'Pray; interview by Mark Kermode<BR>
Family plots: Ginette Vincendeau on father-daughter relationships in French cinema<BR>
On the road: two new challenging TV documentaries<BR>
K
Issue 12
April 1992
Main Cover
Revelations: Wim Wenders interview about Until the End of the World<BR>
Scorsese's masquerade: Pam Cook on femininity and Cape Fear<BR>
Boys and girls come out to play: Lizzie Francke on Hollywood's second childhood<BR>
Rivette and the end of cinema: Thom
Issue 13
May 1992
Main Cover
Halfway to paradise: article on Terence Davies' The Long Day Closes by John Caughie<BR>
Getting even: Carol Clover on rape-revenge movies<BR>
Shape of time: Errol Morris interview<BR>
Tony Richardson and the charge of the light brigade: Vanessa Redgrave c
Issue 14
June 1992
Main Cover
Laughing and killing: article on The Player and interview with Robert Altman<BR>
Writers talk: Screenwriters article<BR>
Burning down the house: Amy Taubin on Atom Egoyan's The Adjuster<BR>
Spectacular stories: review of Raymond Bernard's career by Lenny
Issue 15
July 1992
Main Cover
Content page
Invading bodies: Alien3 article by Amy Taubin and others<BR>
Falling out of love: Serge Daney's critique of Annuad's The Lover<BR>
Branded images: Graham Murdock on product placement<BR>
I am a believer: Michael Eaton on Michael Tolkin's The Rapture and i
Issue 16
August 1992
Main Cover
Content page
Roadside attractions: Jim Jarmusch article and interview<BR>
Fire and ice: set report from Sally Potter's Orlando<BR>
Carry on camp: article on the Carry On films<BR>
Hard boiled: Tony Rayns on John Woo<BR>
Delirious Projections: Peter Wollen traces the h
Issue 17
September 1992
Main Cover
Content page
Once upon a time in Paris: interview and article on Leos Carax's Les Amants du Pont Neuf<BR>
Quality time: Jonathan Powell interview about the BBC<BR>
Blow up a storm: the making of Dust Devil: set report and article on Richard Stanley's follow-up to Hard
Issue 18
October 1992
Main Cover
Beauty and the beasts: Marina Warner explores the fairy tale<BR>
Shadowing the hero: article and interview with Clint Eastwood about Unforgiven<BR>
Out of the ghetto: Michael E. Dyson on what fuels black cinema<BR>
Remembering Michael Powell: celebration
Issue 19
November 1992
Main Cover
Wars and peace: Michael Mann interview<BR>
Gothic shadows: Freddie Francis interview on horror<BR>
Conquistadors' cinema: Peter Wollen on Ridley Scott's 1492<BR>
Comic positions: Chris Wagstaff on two sequences from De Sica's Bicycle Thieves<BR>
Writers'
Issue 20
December 1992
Main Cover
The men's room: article on international art-house violence<BR>
Blade Runner: Telling the Difference: Philip Strick on the director's cut<BR>
Nights at the Opera: Tony Rayns set report from Chen Kaige's Farewell My Concubine<BR>
Out of the ashes: Brian De
1993
Issue 21
January 1993
Main Cover
Dracula and desire: various articles around Coppola's Bram Stoker's Dracula<BR>
Essays in mad love: Tom Gunning on the cinema of Frank Borzage<BR>
Green paper blues: government's BBC discussion document<BR>
Staying power: Harvey Keitel interview<BR>
Ridin
Issue 22
February 1993
Main Cover
Is Malcolm X the right thing?: article and interview with Spike Lee<BR>
Making Whoopi: article on Whoopi Goldberg<BR>
Portrait of the artist as a young woman: Thomas Elsaesser on Leni Riefenstahl<BR>
The gambler: Abel Ferrara interview<BR>
Whose African c
Issue 23
March 1993
Main Cover
Heroes and memories: article on Danny DeVito's Hoffa <BR>
Immortal longing: Sally Potter interview about Orlando<BR>
Lonesome tonight: Tony Rayns on Edward Yang's A Brighter Summer Day<BR>
Sounds and silents: Ian Christie on movie music<BR>
More things in
Issue 24
April 1993
Main Cover
Accidental auteur: article on Stephen Frears<BR>
Juke Box and Johnny Boy: the sound of Martin Scorsese's Mean Streets<BR>
Federico Fellini: Geoffrey Nowell-Smith on the director and an interview<BR>
Dark Side: Alison Maclean interview about her film Crush
Issue 25
May 1993
Main Cover
White noise: Carol Clover on Joel Schumacher's Falling Down<BR>
Sex violence and videotape: censorship<BR>
Snapshots of the 60s: retrospective by Jon Savage<BR>
The end of the line: Jiri Menzel on Czech future, films and censorship<BR>
John Woo's art acti
Issue 26
June 1993
Main Cover
Terror master: Joe Dante interview and article on horror<BR>
Black and white light: Wings of Desire cinematographer Henri Alekan interview <BR>
Out of the shadows: Simon Louvish on Hollywood Jewishness<BR>
The French connection: Simon Watney on Aids, the
Issue 27
July 1993
Main Cover
Theme parks and variations: Peter Wollen on Spielberg's Jurassic Park<BR>
Erotic thrillers and rude women: Linda Ruth Williams on Indecent Proposal and Carnal Crimes<BR>
Dream on: Tony Rayns in China<BR>
Facing the sun: Colin Nutley interview<BR>
Hijacked
Issue 28
August 1993
Main Cover
Arnold through the looking glass: Jonathan Romney on Last Action Hero <BR>
Gong Li and the glamour of the Chinese star: Berenice Reynaud on female stars in China<BR>
Girl N the hood: article on Just Another Girl in the I.R.T.<BR>
Inside the belly: Roy Chu
Issue 29
September 1993
Main Cover
Stepping out: Clint Eastwood interview and article on In The Line Of Fire<BR>
Clinton's Hollywood: Martin Walker on presidential movies, including Dave<BR>
The importance of being ordinary: article on Kenneth Branagh<BR>
Daughters of the Dust: Julie Dash
Issue 30
October 1993
Main Cover
Bodyscape: Stella Bruzzi on Jane Campion's The Piano<BR>
War business: article on Rising Sun<BR>
The riddle of the rock biopic: Tina Turner and the life of rock music<BR>
Blue and the outer limits: Paul Julian Smith on Jarman's Blue<BR>
All that is light:
Issue 31
November 1993
Main Cover
Embarrassment and beyond: Mike Leigh's Naked<BR>
New Aladdins for old: Disney's Aladdin<BR>
Four days in October: television coverage of Moscow civil war<BR>
At home on the range: Gus Van Sant and Maggie Greenwald interview<BR>
New York and Ouagadougou: t
Issue 32
December 1993
Main Cover
Federico Fellini: Martin Scorsese on the great Italian director<BR>
Dread and desire: article on Scorsese's The Age of Innocence<BR>
Imagined communities: Tony Garnet and TV drama<BR>
Memories of Vincent Price: Roger Corman and Joe Dante remember him<BR>
1994
Issue 33
January 1994
Main Cover
Future chic: article on Pedro Almodovar's Kika<BR>
Sisters in arms: set report from the set of Elaine Proctor's Friends<BR>
Crossing the frontiers: Michael Atkinson on the road movie<BR>
2001: A cold descent: Mark Crispin Miller reappraises<BR>
Feelings a
Issue 34
February 1994
Main Cover
Shelter from the storm: Jonathan Romney interviews Woody Allen<BR>
The Scorsese Interview: interview by Ian Christie<BR>
Looking for the simple idea: article on Saul and Elaine Bass<BR>
Brooks and the Bob: Peter Wollen on Louise Brooks<BR>
Blackpool Illum
Issue 35
March 1994
Main Cover
In the Time of Earthquakes: Jonathan Romney on Robert Altman's Short Cuts<BR>
Witness: article on Schindler's List<BR>
Feeling English: Richard Dyer on Richard Attenborough's Shadowlands<BR>
Valley Boys: Welsh stars<BR>
The Odd Couple: article on Jonathan
Issue 36
April 1994
Main Cover
In memory of Derek Jarman: Christopher Hobbs remembers<BR>
Backbeat: article on Backbeat, the Beatles, pop, sex, drugs and the 60s<BR>
An eye for an eye: Un Chien Andalou to The Terminator, Linda Ruth Williams 'eye horror'<BR>
Bernardo Bertolucci: Intrave
Issue 37
May 1994
Main Cover
Pulp Instincts: pulp movies<BR>
Quentin Tarantino on Pulp Fiction: interview<BR>
Never at Home: Peter Wollen on Nicholas Ray<BR>
Loosening the Knot: On Set with Zhang Yimou: by Tony Rayns<BR>
Down the white road: Yuri Norstein, animator, interview<BR>
Fal
Issue 38
June 1994
Main Cover
Glowing in the dark: Krzysztof Kieslowski talks about Three Colours White<BR>
London: Necropolis of Fretful Ghosts: Iain Sinclair on low-life London<BR>
Odd man out: Andy Medhurst on Jack Lemmon<BR>
My time is not your time: Andy Warhol<BR>
Welcome to the
Issue 39
July 1994
Main Cover
Sibling rivalry: The Flintstones and Hollywood's reliance on television<BR>
It all happened in Paris: Alphaville reappraisal<BR>
Insane memory: Chris Petit on Chris Marker<BR>
Goings and comings: Go Fish and how it was realised<BR>
Boomers and busters: Jo
Issue 40
August 1994
Main Cover
The Sphinx without a riddle: the Coen Brothers and genre<BR>
Sorrowful black death is not a hot ticket: bell hooks Spike Lee's Crooklyn<BR>
Tavernier on Mackendrick<BR>
Black is...black ain't: Kobena Mercer on Marlon Riggs' films<BR>
Being Human: Bill For
Issue 41
September 1994
Main Cover
In memory of Peter Cushing; by Freddie Francis<BR>
Sisyphus in Ray-Bans: Ian Penman on Jack Nicholson <BR>
Alain Resnais: interview with Alain Resnais and Alan Ayckbourn by Jonathan Romney<BR>
Waiting for the end: an appraisal of Resnais' career<BR>
Blood
Issue 42
October 1994
Main Cover
Action!: Richard Dyer on Speed and action movies<BR>
Chaos and anger: Tony Rayns in Beijing<BR>
Making saccharine taste sour: Martin Walker on Forrest Gump<BR>
Lindsay Anderson: Unrequited lover: Gavin Lambert on the man and his last film Is That All Ther
Issue 43
November 1994
Main Cover
Making Frankenstein and the monster: set-report on the making of Mary Shelley's Frankenstein<BR>
Ladybird and Ladybird: Ken Loach and Rona Munro interviewed<BR>
Quentin Tarantino on Pulp Fiction<BR>
The worlds of Harry Saltzman: Len Deighton remembers<BR>
Issue 44
December 1994
Main Cover
Why do I have to provoke?: Oliver Stone talks about Natural Born Killers<BR>
Learning to scream: Linda Williams on Psycho<BR>
Dying for art: Peter Wollen on Peeping Tom<BR>
Beginnings, endings and the stuff in-between: interview with credit sequence desig
1995
Issue 45
January 1995
Main Cover
Bloody tales: Amy Taubin on Interview with a Vampire and other undead movies<BR>
Four weddings and a final reckoning: article on the success of Four Weddings and a Funeral<BR>
The BBC 100: film-makers and critics opinions on the BBC's 100 greatest list<BR
Issue 46
February 1995
Main Cover
All about Leigh: Lizzie Francke on Jennifer Jason Leigh<BR>
Scandal and the wasp: David Marc on Redford's Quiz Show<BR>
Woman on the edge: Shekhar Kapur interview about Bandit Queen<BR>
Unwelcome: article on Welcome II the Terrordome<BR>
Straw Dogs: artic
Issue 47
March 1995
Main Cover
Exploding Hollywood: Natural Born Killers by Larry Gross<BR>
Strike a pose: Robert Altman's Pret-a-Porter by Peter Wollen<BR>
Inside the British wardrobe: Andy Medhurst on costume design in British cinema<BR>
Moving Bodies: Laura Mulvey talks to Moufida T
Issue 48
April 1995
Main Cover
I make films for adults: interview with Roman Polanski on Death and the Maiden<BR>
Slugging it out: Alison Anders' Mi Vida Loca<BR>
Here and now: Tony Rayns on the set of Tran Anh Hung's latest film<BR>
Dreams of conquest: Hoop Dreams and the Oscar<BR>
Ho
Issue 49
May 1995
Main Cover
Exploitations: Jonathan Romney and Tony Rayns on Atom Egoyan's Exotica<BR>
Ed Wood...not: Tim Burton and Ed Wood<BR>
Escape from gravity: article and interview with Douglas Trumbell <BR>
The first kiss takes so long: Richard Linklater interview about Befo
Issue 50
June 1995
Main Cover
Method and madness: Manohla Dargis on Nicolas Cage <BR>
Violence: Martin Baker on screen violence<BR>
The shadow: Rob Roy by Liz Lochhead<BR>
Saul Bass and Billy Wilder in conversation<BR>
Between God and the goodfellas: Raymond Durgnat on Scorsese's TV s
Issue 51
July 1995
Main Cover
Cyber Johnny: William Gibson and Robert Longo on Johnny Mnemonic<BR>
Gangs in the Hood: report from Gillies MacKinnon's latest<BR>
Delirious Inventions: comic-book adaptations <BR>
Sheer Exertion: Ron Shelton celebrates Buster Keaton<BR>
The ups and downs
Issue 52
August 1995
Main Cover
Big and loud: Larry Gross examines the history of spectacle<BR>
Life's a dream: Jonathan Romney on set of Quay Brothers' Institute Benjamenta<BR>
Waiting for Dredd: article on adaptation of Judge Dredd<BR>
Meet Jeanne Bunuel: interview with Bunuel's wife
Issue 53
September 1995
Main Cover
Apollo and Newt: Apollo 13 and US politics<BR>
Space looks: Stella Bruzzi on costume design in science-fiction films<BR>
Poet of time: Tony Rayns interviews Wong Kar-Wai about Chungking Express<BR>
Equilibrium: Saskia Reeves interview about Butterfly Kiss
Issue 54
October 1995
Main Cover
Unhinged invention: Andy Medhurst on Funny Bones<BR>
Jolly Grim: Jonathan Coe on Terence Davies and The Neon Bible<BR>
From the inside out: Lizzie Francke on Gena Rowlands<BR>
Sam Peckinpah: by Paul Seydor<BR>
Wild things: interviews and article on The Wi
Issue 55
November 1995
Main Cover
Dumb lugs and femme fatales: film noir with a twist<BR>
After the riot: Keith Reader reflects on La Haine<BR>
Kids: beyond scandal: Amy Taubin discusses Larry Clark's Kids<BR>
The Kubrick connection: Pierre-William Glenn interview about reinventing The Ki
Issue 56
December 1995
Main Cover
Virtual fears: Kathryn Bigelow and Strange Days<BR>
Dots and sickles: Bond title sequences<BR>
Whatever happened to William Friedkin: Larry Gross on Jade<BR>
Antonioni before and after: Geoffrey Nowell-Smith on Antonioni's 60s films<BR>
In the arms of ano
1996
Issue 57
January 1996
Main Cover
Scorsese's testament: interview by Ian Christie about Casino<BR>
Bright lights, big city: Saul Bass and Casino's title sequence<BR>
Algiers in Paris: on-set of Merzak Allouache's Salut Cousin!<BR>
Extremities: on set interview with Terry Gilliam about 12
Issue 58
February 1996
Main Cover
The boys are back in town: interviews and article on Trainspotting<BR>
Dad's the word: Lem Dobbs on Charlton Heston<BR>
Things are moving very quickly: Mike Figgis' Leaving Las Vegas diary<BR>
The Long Take: Andy Medhurst on Fassbinder<BR>
Almodovar and t
Issue 59
March 1996
Main Cover
The dark side: Oliver Stone and Nixon<BR>
Motion and emotion: Tony Rayns interviews Chen Kaige about Temptress Moon<BR>
Bob and Al in the coffee shop: Michael Mann's script and notes for that scene in Heat<BR>
Cautionary tale: Sense and Sensibility articl
Issue 60
April 1996
Main Cover
Smoke opera: Paul Auster interview on Smoke<BR>
Between Hollywood and Sundance: Larry Gross at the festival<BR>
Time and the machine: Terry Gilliam on 12 Monkeys<BR>
Inside the light: Se7en cinematographer Darius Khondji interview<BR>
In the cold: The X F
Issue 61
May 1996
Main Cover
Kids: Larry Clark interview and article<BR>
On the road: Clare Peploe's diary on her film Rough Magic<BR>
Working with Kieslowski: Three colleagues remember<BR>
Hell freezes over: The Coens on Fargo<BR>
Rebecca: Alison Light reappraises Hitchcock's film<B
Issue 62
June 1996
Main Cover
Crash: Chris Rodley interviews Cronenberg<BR>
A is for Animation: Part one of cinema alphabet<BR>
Darkness visible: Philip Ridley interview about The Passion of Darkly Noon<BR>
Talk now, pay later: bell hooks on Spike Lee's Girl 6<BR>
The harder way: Tony
Issue 63
July 1996
Main Cover
Mr Contradiction: Lost Highway on-set interviews by Chris Rodley with David Lynch and Patricia Arquette<BR>
Beyond words: Beyond the Clouds, Antonioni and Wenders<BR>
Mission: sublime: Mission: Impossible<BR>
B for British<BR>
Provoking desire: Tony Rayns
Issue 64
August 1996
Main Cover
Playing it straight: Independence Day <BR>
Hammer's cosy violence: Jonathan Coe on what made Hammer great<BR>
Gangsters special: articles on The Godfather, The Long Good Friday, Shaft and other films by Manhola Dargis, Barrie Keeffe, Mike Phillips and Iai
Issue 65
September 1996
Main Cover
Nonchalant gaze: Larry Gross on Wong Kar-Wai and Fallen Angels<BR>
Playing for real: David Thomson on movies about sports<BR>
Swings of desire: Tin Cup set report<BR>
Walking alone: John Sayles interview about Kurosawa's Yojimbo<BR>
Wave theory: the rise
Issue 66
October 1996
Main Cover
Ready to explode: career profile of Christopher Eccleston and Jude<BR>
Naked miracles: Stig Bjorkman interviews Lars von Trier about Breaking the Waves<BR>
Friends of yours: Andy Medhurst on Friends<BR>
Welles and Touch of Evil: by Peter Wollen<BR>
Everyt
Issue 67
November 1996
Main Cover
On the brink: Lizzie Francke on Jane Campion's The Portrait of a Lady<BR>
If you are not for us: Misha Glenny on Underground and Pretty Village, Pretty Flame<BR>
Body talk: Peter Greenaway on his film The Pillow Book<BR>
The Big Casino: John Powers on cin
Issue 68
December 1996
Main Cover
A man for all seasons: article on Samuel L. Jackson<BR>
From the top of the hill: Mohsen Makhmalbaf interview about Gabbeh<BR>
Rising below vulgarity: Gordon Burn on the Russ Meyer myth<BR>
The media do influence us: David Miller and Greg Philo counterpun
1997
Issue 69
January 1997
Main Cover
The dead: Christopher Walken article<BR>
Desperation and desire: Leslie Dick on Roeg's Don't Look Now<BR>
The look of Evita: interviews with the film's production designer and costumer<BR>
Andrei Tarkovsky special: celebration including career overview by
Issue 70
February 1997
Main Cover
Pax Americana: Tim Burton's Mars Attacks!<BR>
Hill on Hawks: Walter Hill on Howard Hawks<BR>
Hawks and the angels: Larry Gross on Only Angels Have Wings and Hemingway<BR>
I don't wanna be like everyone else: Quadrophenia article by Jon Savage<BR>
Suspense
Issue 71
March 1997
Main Cover
Kiss kiss bang bang: article on Baz Luhrmann's Romeo & Juliet<BR>
Songs from the heart: Andy Medhurst on Allison Anders' Grace of My Heart, plus interview with Anders<BR>
Confrontations: Tsai Ming-Liang talks to Tony Rayns<BR>
War zone: Iain Sinclair on S
Issue 72
April 1997
Main Cover
Dealing with the now: Abel Ferrara interview for The Addiction<BR>
Talking too much with men: Hadani Ditmars on Iranian film-making<BR>
Compulsion: Peter Wollen on Hitchcock's Vertigo<BR>
The Jeweller's eye: Pat Kirkham on Saul Bass' Vertigo credits seque
Issue 73
May 1997
Main Cover
The Infiltrator: Mike Newell interview for Donnie Brasco<BR>
Ali's rumble: article on When We Were Kings by Gerald Early<BR>
To the end of the world: Chris Doyle's Happy Together shooting diary<BR>
Sleeping with guns: Wim Wenders on-set interview for The
Issue 74
June 1997
Main Cover
Infinite city: articles on The Fifth Element<BR>
The Kaurismaki effect: Jonathan Romney interviews Aki Kaurismaki's Drifting Clouds<BR>
Road rage: Mark Kermode and Julian Petley on the controversy over David Cronenberg's Crash<BR>
The thriller inside me:
Issue 75
July 1997
Main Cover
<FONT COLOR='#ff0000'>Tommy Lee Jones</FONT>: A profile<BR>
<FONT COLOR='#ff0000'>Unhook the Stars</FONT>: Nick Cassavettes is carrying on the family business.<BR>
<FONT COLOR='#ff0000'>Marcel Carne</FONT>: Paradise regained<BR>
<FONT COLOR='#ff0000'>Love
Issue 76
August 1997
Main Cover
<FONT COLOR='#ff0000'>Voodoo Road</FONT>: David Lynch's new Lost Highway.<BR>
<FONT COLOR='#ff0000'>Tierra</FONT>: Basque director, Julio Medem, speaks about his third movie.<BR>
<FONT COLOR='#ff0000'>Spike Lee</FONT>: Get on the Bus<BR>
<FONT COLOR='#ff0
Issue 77
September 1997
Main Cover
<FONT COLOR='#ff0000'>Robert Mitchum</FONT>: The four great roles of his career.<BR>
<FONT COLOR='#ff0000'>John Woo</FONT>: With Face/Off takes screen violence and action excitement to new levels.<BR>
<FONT COLOR='#ff0000'>Kill and kill again</FONT>: Why
Issue 78
October 1997
Main Cover
Being there: Gary Oldman's Nil by Mouth <BR>
East End heat: Robert Carlyle and Antonia Bird talk about Face<BR>
Close to the edge: the repelling suburbs - Richard Linklater's SubUrbia<BR>
Recovery: Atom Egoyan on The Sweet Hereafter<BR>
Sharks keep swimmi
Issue 79
November 1997
Main Cover
L.A. lurid: Amy Taubin interviews Curtis Hanson on L.A. Confidential<BR>
The thoughts of Chairman Alan: Alan Parker on the bfi<BR>
Hollywood Berlin: Thomas Elsaesser on movies in the Nazi era<BR>
Body talk: Linda Ruth Williams on Demi Moore and G.I.Jane<B
Issue 80
December 1997
Main Cover
Born Again: Michael Eaton on Alien Resurrection<BR>
Gypsy time: set-report on Black Cat, White Cat with Emir Kusturica<BR>
Falling angel: Carine Adler's Under the Skin interviews<BR>
The dream of well-being: Nancy Condee on the ailing Russian Film Industr
1998
Issue 81
January 1998
Main Cover
<FONT COLOR='#ff0000'>Night Fever</FONT>:
Boogie Nights examines the well-
endowed and the self-deluded in
the 70s porn industry. Director Paul
Thomas Anderson talks to Gavin
Smith about his fascination with
hardcore's performers.<br>
<FONT COLOR='#ff000
Issue 82
February 1998
Main Cover
<FONT COLOR='#ff0000'>The road not taken</FONT>:
Martin Scorsese's life of the Dalai
Lama, Kundun, has upset the Chinese
government and put its distributor
in an awkward fix. Amy Taubin talks
to the director about rage, form and
the beauty of passivity.<b
Issue 83
March 1998
Main Cover
<FONT COLOR='#ff0000'>The mouth and the method</FONT>:
Quentin Tarantino's Jackie Brown
brings together blaxploitation and
Elmore Leonard pulp. He explains
why he's a 'method writer' and why
he's not afraid to use the 'N' word.
Intrview by Erik Bauer.<br>
Issue 84
April 1998
Main Cover
<FONT COLOR='#ff0000'>Absolute precision</FONT>:
With Live Flesh, Pedro Almodovar
takes a Ruth Rendell crime novel
apart and welds it back together with
politics, passion and elegance.
By Paul Julian Smith.<br>
<FONT COLOR='#ff0000'>Scuzzballs like us</FO
Issue 85
May 1998
Main Cover
<FONT COLOR='#ff0000'>Saint Nick</FONT>:
Why is Nick Nolte Oliver Stone's,
Paul Schrader's and Alan Rudolph's
favourite troubled man? Geoffrey
Macnab considers the last of the
complex tough guys.<br>
<FONT COLOR='#ff0000'>X for 'X' films</FONT>:
What the
Issue 86
June 1998
Main Cover
<FONT COLOR='#ff0000'>Chemical Warfare</FONT>:
Terry Gilliam's Fear and Loathing
in Las Vegas turns Hunter S.
Thompson's gonzo journalism into
a manic drugs-and-desperation saga.
Bob McCabe talks to the director
about shooting fast and cheap.<br>
<FONT CO
Issue 87
July 1998
Main Cover
FONT COLOR='#ff0000'>Lucifer Rising</FONT>:
The Exorcist is probably the scariest
mainstream movie ever made.
As it is re-released, Mark Kermode
takes an exclusive look at unseen
out-takes and talks to all the key
participants.<br>
<FONT COLOR='#ff0000'>M
Issue 88
August 1998
Main Cover
<FONT COLOR='#ff0000'>Bubble Boy</FONT>: The Truman Show, Peter Weir's satire
of a life lived on television starring
Jim Carrey, has been feted in the
US for its cleverness. But how
clever is it? <br>
<FONT COLOR='#ff0000'>Medium Cool</FONT>: Is the "
Issue 89
September 1998
Main Cover
<FONT COLOR='#ff0000'>American Voyeur</FONT>: Velvet Goldmine is a kaleidoscopic glam-rock fantasia that celebrates artifice and blurs boundaries. Director Todd Haynes talks to Nick James about Oscar Wilde and working class heroes. Plus Mark Sinker traces
Issue 90
October 1998
Main Cover
<FONT COLOR='#ff0000'>Blind date</FONT>: Elmore Leonard's laid back pulp is a hard nut for movie-makers to crack,
but Steven Soderbergh's understated Out of Sight succeeds where others fail, argues Peter Matthews. Plus Screenwriter Scott Frank talks to Le
Issue 91
November 1998
Main Cover
<FONT COLOR='#ff0000'>Pullinh the pin on Hal Hartley</FONT>: Hal Hartley's sixth movie, Henry FooL is his first to value real emotion over style, argues Ryan Gilbey. Plus London Film Festival highlights: Chris Darke on Radio On (Rernix); Nick James on Bul
Issue 92
December 1998
Main Cover
<FONT COLOR='#ff0000'>With my game face on</FONT>: There's more to the poker movie Rounders than Matt Damon's stare and director John Dahl's swift atmospheres. It also calls the bluff of America's stonewalling relationship to class. By Shane Danielsen.<BR
1999
Issue 93
January 1999
Main Cover
<FONT COLOR='#ff0000'>Reality is too shocking</FONT>: Upfront European films - including Lars von Trier's The Idiots, Francois Ozon's Sitcom and Gaspar Noe's Seul Contre Tous - are testing the censors with incest, real sex and graphic
violence. But do we
Issue 94
February 1999
Main Cover
<FONT COLOR='#ff0000'>Bayonets in Paradise</FONT>: Terrence Malick's return to cinema, The Thin Red Line, is a spectacular achievement - but its take on World War II provokes concern, argues Cohn MacCabe. Plus Geoffrey Macnab on author James Jones.<BR>
<F
Issue 95
March 1999
Main Cover
<FONT COLOR='#ff0000'>Welcome to the nerdhouse</FONT>: Todd Solondz's Happiness features a sympathetic paedophile. Neil LaBute's Your Friends & Neighbors focuses on misogynists, rapists and philanderers. Charles Taylor wonders why so many US indie fil
Issue 96
April 1999
Main Cover
Game boy: Chris Rodley interviews eXistenZ director David Cronenberg<BR>
Tearing the roof off: Peter Mullan interviewed about Orphans<BR>
God's lonely man: Amy Taubin re-examines Martin Scorsese's Taxi Driver<BR>
A child's demon: David Thomson on Charles
Issue 97
May 1999
Main Cover
Make it yellow: Jonathan Romney interviews Theo Angelopoulos about Eternity and a Day<BR>
Bigger than life: Yvonne Tasker on Kathryn Bigelow's career<BR>
The Innovators 1920-1930: Laura Mulvey on Sam Warner<BR>
Farewell to Napoli: Nick James on Notting Hi
Issue 98
June 1999
Main Cover
Rubber reality: Kim Newman on The Matrix<BR>
Ms Tough: Leslie Felperin on the career of Judy Davis <BR>
Papa yakuza: Tony Rayns interviews Takeshi Kitano on the set of Kikujiro<BR>
Dooming the video: the arrival of DVD<BR>
The Innovators 1930-1940: Harvey
Issue 99
July 1999
Main Cover
<FONT COLOR='#ff0000'>Blood Symbol</FONT>: As a new morality campaign against Hollywood violence gains momentum, Mary Harron's film of American Psycho, Bret Easton Ellis' serial-killer trader tale, is at last being shot. Jeff Sipe talks to Harron and star
Issue 100
August 1999
Main Cover
<FONT COLOR='#ff0000'>Welcome to my nightmare</FONT>: Incest is a tough subject for any film-maker, but for Tim Roth, a British movie star making his directing debut, it's worth the risk.<BR>
<FONT COLOR='#ff0000'>Bill Murray: In cold blood</FONT>: How on
Issue 101
September 1999
Main Cover
<FONT COLOR='#ff0000'>Stanley Kubrick 1928-99 Resident Phantoms</FONT>: When The Shining was released in 1980 it was dismissed as a technical exercise in horror, but its reputation for distilling the uncanny has grown. Jonathan Romney thinks it may be the
Issue 102
October 1999
Main Cover
<FONT COLOR='#ff0000'>Women directors special soul survivor</FONT>: In the shape of Holy Smoke's Kate Winslet, Jane Campion offers up another of her complex, strong-willed heroines - but this time, argues Kate Pullinger, with the masochism excised.<BR>
<F
Issue 103
November 1999
Main Cover
<FONT COLOR='#ff0000'>Fine Cuts</FONT>: Sight and Sound samples the highlights of this year's London Film Festival with previews of new films from Claire Denis, Hou Hsia Hsien, Harmony Korine and Shane Meadows among others.<BR>
<FONT COLOR='#ff0000'>The f
Issue 104
December 1999
Main Cover
<FONT COLOR='#ff0000'>Juggling in the park</FONT>: Lars von Trier has cast child-woman pop diva Bjork for his new 100-camera musical. Stig Bjorkman talks to the director about what may be the most expensive Danish movie ever made.<BR>
<FONT COLOR='#ff0000
2000
Issue 105
January 2000
Main Cover
<FONT COLOR='#ff0000'>The cage of reason</FONT>: Tim Burton is not the only creative force behind Sleepy Hollow, which may be why it's pitched between horror and the spoofery that made his name, argues Kim Newman.<BR>
<FONT COLOR='#ff0000'>Fritz Lang: The
Issue 106
February 2000
Main Cover
<FONT COLOR='#ff0000'>My bloody Valentine</FONT>: To make The Talented Mr. Ripley a "bruising experience", Anthomy Minghella had to restructure Patricia Highsmith's greatest novel. Nick James talks to the director and his editor Walter Murch.<BR
Issue 107
March 2000
Main Cover
<FONT COLOR='#ff0000'>No smoking gun</FONT>: Michael Mann's The Insider turns a true story of one man's fight to expose the lethal policies of the tobacco industry into an intense conspiracy thriller. Nick James ponders its thematic links with Heat, Manhu
Issue 108
April 2000
Main Cover
<FONT COLOR='#ff0000'>Death and the maidens</FONT>: Sofia Coppola's adaptation of The Virgin Suicides goes beyond most dystopian visions of susburbia to a poignant landscape of nostalgia and loss.<BR>
<FONT COLOR='#ff0000'>Deadpan afterlife</FONT>: Buster
Issue 109
May 2000
Main Cover
<FONT COLOR='#ff0000'>A law unto herself</FONT>: In Steven Soderbergh's Erin Brockovich, Julia Roberts, playing a crusading, mini-skirted, working-class legal aide, has finally found a vehicle worthy of her underrated acting talent.<BR>
<FONT COLOR='#ff00
Issue 110
June 2000
Main Cover
<FONT COLOR='#ff0000'>Binoche the erotic face</FONT>: As two new costume dramas, La Veuve de Saint-Pierre and Les Enfants du Siecle, cast Juliette Binoche as a tragic muse, Ginette Vincendeau wonders if she can ever explore her full potential.<BR>
<FONT C
Issue 111
July 2000
Main Cover
<FONT COLOR='#ff0000'>East is best: Cannes 2000</FONT>: From the new Wong Kar-Wai to the new Lars von Trier, this year's Cannes offered quality and controversy in equal measure, as Nick James reports. Plus S&S' annual round-up of the highlights.<BR>
<
Issue 112
August 2000
Main Cover
<FONT COLOR='#ff0000'>In the mood for Edinburgh</FONT>: Wong Kar-Wai talks about his most difficult film-making experience with Tony Rayns. Plus festival highlights: Japan's horror hit The Ring, Mike Figgis' split-screen Time Code, The Beaver Trilogy and
Issue 113
September 2000
Main Cover
<FONT COLOR='#ff0000'>How do you solve a problem like Von Trier?</FONT>: With Bjork plausible in the lead role and her true pop self singing her own songs, what else is it about Lars von Trier's anti musical Dancer in the Dark that has so divided the crit
Issue 114
October 2000
Main Cover
<FONT COLOR='#ff0000'>Beauty's slow fade</FONT>: The House of Mirth, a sumptuous adaptation of Edith Wharton's novel, marks a triumphant change of direction for Terence Davies. Philip Horne explains its virtues and talks etiquette and music with the direc
Issue 115
November 2000
Main Cover
<FONT COLOR='#ff0000'>Ugly (In a nice way)</FONT>: Mark Brandon 'Chopper' Read is one of Australia's most notorious killers. Nick Roddick asks <I>Chopper</I> director Andrew Dominik what attracted him to a man said to have murdered 19 people and arranged
Issue 116
December 2000
Main Cover
<FONT COLOR='#ff0000'>Stealth and duty</FONT>: Ang Lee's ravishing <I>Crouching Tiger, Hidden Dragon</I> introduces full-throttled romance to the martial-arts genre. Philip Kemp finds out why the director keeps tackling projects so mould-breaking they sca
2001
Issue 117
January 2001
Main Cover
<FONT COLOR='#ff0000'>In bed with the film council</FONT>: The Film Council's clean-slate approach promises all things to all film-makers. Nick James probes the rhetoric to find out what new British cinema might be.<BR>
<FONT COLOR='#ff0000'>Thieves on th
Issue 118
February 2001
Main Cover
<FONT COLOR='#ff0000'>Six degrees of Nosferatu</FONT>:The circumstances surrounding F. W. Murnau's classic 1922 vampire film are still a subject for speculation. Thomas Elsaesser unravels a web of connections.<BR>
<FONT COLOR='#ff0000'>Take it like a girl
Issue 119
March 2001
Main Cover
<FONT COLOR='#ff0000'>Bloodred horizons</FONT>: When Mike Nichols bought the neo-Western <I>All The Pretty Horses</I> he thought it was the hottest property since <I>The Graduate</I>. Jim Kitses asks if Billy Bob Thonrton's film lives up to expectations.<
Issue 120
April 2001
Main Cover
<FONT COLOR='#ff0000'>Emotional engineering</FONT>: Edward Yang's <I>A One And A Two....</I> has the family traumas of a soap opera glimpsed through half-closed doors. Nick James celebrates a film that captures Taiwan's middle classes on the verge of a ne
Issue 121
May 2001
Main Cover
<FONT COLOR='#ff0000'>Paradise lust</FONT>: Nicolas Cage is as good as ever in the war romance Captain Corelli's Mandolin, but why is the film
nostalgic for old-style Hollywood, and why is the US so keen on the Europudding, asks Jose Arroyo.<BR>
<FONT COL
Issue 122
June 2001
Main Cover
<FONT COLOR='#ff0000'>Strictly red</FONT>: Baz Luhrmann's <I>Moulin Rouge</I> spins Madonna and Marilyn Monroe, Orpheus and Toulouse-Lautrec into
a glittering web of fin-de-siecle Paris. Graham Fuller talks to the director about reinventing the musical.<B
Issue 123
July 2001
Main Cover
<FONT COLOR='#ff0000'>Cannes 2001: What's the story, moaning glory</FONT>: Cannes 2001 boasted new films from Godard, Lynch, Kiarostami, the Coens, Koreeda, Solondz and Claire Denis, plus a re-edited version of Coppola's <I>Apocalypse Now</I>. So why do B
Issue 124
August 2001
Main Cover
<FONT COLOR='#ff0000'>Mr Pink, Mr Indie, Mr Shhh</FONT>: A favourite of the Coens and Tarantino, Steve Buscemi is the king of indie actors. As he directs his second film <I>Animal Factory</I>, Philip Kemp dissects the jittery unease and querulous yammer t
Issue 125
September 2001
Main Cover
<FONT COLOR='#ff0000'>Gorilla warfare</FONT>: The new <I>Planet Of The Apes</I> dresses its big stars in elaborate simian costumes and features cutting-edge action scenes. But has Tim Burton lost his way, asks Andrew O'Hehir. Plus Kim Newman recalls a tim
Issue 126
October 2001
Main Cover
<FONT COLOR='#ff0000'>Dead man walking</FONT>: The Coens' new film <I>The Man Who Wasn't There</I> may look like classic noir, but its ego-bereft hero and homely femme fatale confuse the moral maze, argues Graham Fuller. Plus DoP Roger Deakins talks to Ph
Issue 127
November 2001
Main Cover
<FONT COLOR='#ff0000'>Casualties of war</FONT>: Francis Ford Coppola abandoned rather than completed his masterpiece Apocalypse Now. Philip Horne surveys the additional scenes of humour, sex and politics in the director's longer new cut and asks, did less
Issue 128
December 2001
Main Cover
<FONT COLOR='#ff0000'>Babes in Babylon</FONT>: David Lynch's Mulholland Dr. weaves glam lesbian sleuths, Hollywood doo-wop starlets and limo-riding mobsters into an LA wish-fulfilment dream that suddenly crumbles into nightmare. Graham Fuller is in the ps
2002
Issue 129
January 2002
Main Cover
<FONT COLOR='#ff0000'>To be or not to be</FONT>: British actors are universally respected but tragically underused. Nick James asks why the current batch of lottery-funded Britfilms ignore one of our greatest assets.<BR>
<FONT COLOR='#ff0000'>Henna and ce
Issue 130
February 2002
Main Cover
<FONT COLOR='#ff0000'>Nice 'n easy</FONT>:
With 1960's Ocean's Eleven Sinatra's Rat Pack proved they could make a rotten Vegas heist movie. Now there's a slick, star-studded remake. Shawn Levy wonders why and asks if George and Brad can ever be as cool as
Issue 131
March 2002
Main Cover
<FONT COLOR='#ff0000'>Family album</FONT>:
Wes Anderson's dysfunctional family saga The Royal Tenenbaums is even more audaciously eccentric than Rushmore. Jonathan Romney teases out the wealth of seductively contrived imagery that makes it such a magnific
Issue 132
April 2002
Main Cover
<FONT COLOR='#ff0000'>Trans-Europe expression</FONT>:
The Rotterdam and Berlin festivals launch the European film new year. Sight and Sound's critics bring you the movies to watch our for.<BR>
<FONT COLOR='#ff0000'>Heaven's mouth</FONT>:
'And Your Mother
Issue 133
May 2002
Main Cover
<FONT COLOR='#ff0000'>Mother courage</FONT>:
Jodie Foster has specialised in playing single parents and abandoned children. Linda Ruth Williams watches David Fincher's Panic Room and discovers why.<BR>
<FONT COLOR='#ff0000'>Boom raider</FONT>:
In Biggie a
Issue 134
June 2002
Main Cover
<FONT COLOR='#ff0000'>Changing the guard</FONT>:
Monster's Ball languised for five years while Hollywood tried to lighten it up. Nick Roddick talks to director Mark Forster about this dark vision of US society that made Halle Berry an unexpected hit.
<FON
Issue 135
July 2002
Main Cover
<FONT COLOR='#ff0000'>Rich and strange</FONT>:
This year's Cannes was bursting with good films that successfully mixed art and politics. Our critics pick 30 of the best to look out for. Plus Nick James is seduced by Scorsese's Gangs of New York and asks w
Issue 136
August 2002
Main Cover
<FONT COLOR='#ff0000'>An eye for an eye</FONT>:
Minority Report confirms Steven Spielberg as the greatest cinematic orchestrator of our time. Kubrick, Hitchcock, sci-fi, Orwell, neo-noir, slapstick comedy and Tom Cruise combine in a dark tale of state con
Issue 137
September 2002
Main Cover
<FONT COLOR='#ff0000'>Cool measures</FONT>: Under a new artistic director, the Edinburgh film festival has gone from strength to strength, says Nick James. S&S reviews three of its thoroughly arthouse pleasures.<BR>
<FONT COLOR='#ff0000'>Pure kamikaze
Issue 138
October 2002
Main Cover
<FONT COLOR='#ff0000'>Reasons to be cheerful</FONT>: Is 2002 the year when British cinema stopped trying so hard to please? Ryan Gilbey celebrates a crop of abrasive new films by Ken Loach, Mike Leigh and their heirs.<BR>
<FONT COLOR='#ff0000'>That shrink
Issue 139
November 2002
Main Cover
<FONT COLOR='#ff0000'>On a wing and a prayer</FONT>: The Venice film festival was under pressure to perform after its director was removed with just months to go. Nick James on new head Moritz de Hadeln's surprising success Plus reviews of the highlights.
Issue 140
December 2002
Main Cover
<FONT COLOR='#ff0000'>Easy on the megaphone</FONT>: John Malkovich has just directed his debut film, the political thriller The Dancer Upstairs. He tells James Mottram why he waited so long before getting behind the camera and explains why red wine keeps
2003
Issue 141
January 2003
Main Cover
<FONT COLOR='#ff0000'>Odd Man Out</FONT>: Director David Cronenberg and star Ralph Fiennes both identify with Spider, the shabby schizophrenic misfit at the heart of Cronenberg's new film. Kevin Jackson and Nick James find out why.<BR>
<FONT COLOR='#ff000
Issue 142
February 2003
Main Cover
<FONT COLOR='#ff0000'>A Good place to die</FONT>: A young Mexican's debut feature tackles love, death, redemption and cross-generational sex with skill and sensitivity. Demetrios Matheou talks to Carlos Reygadas about Japon.<BR>
<FONT COLOR='#ff0000'>Futu
Issue 143
March 2003
Main Cover
<FONT COLOR='#ff0000'>Magnificent Obsession</FONT>: With his new film Far from Heaven director Todd Haynes, like Fassbinder before him, has been inspired to new heights by Douglas Sirk's All That Heaven Allows. Plus Nick James discusses the Sirk style wit
Issue 144
April 2003
Main Cover
<FONT COLOR='#ff0000'>Going down</FONT>: Spike Lee's 25th Hour translates the fear and anxiety of its jail-bound anti-hero into a hymn to post-9/11 New York. By Amy Taubin.<BR>
<FONT COLOR='#ff0000'>Eastern Bloc: Berun 2003</FONT>: Berlin 2003 played host
Issue 145
May 2003
Main Cover
<FONT COLOR='#ff0000'>Don't fence me in</FONT>: Jack Nicholson gave 1970s cinema a new kind of leading man, and he's gone on making unpredictable choices ever since. But are his best roles those where he's least comfortable, asks Danny Leigh.<BR>
<FONT CO
Issue 146
June 2003
Main Cover
<FONT COLOR='#ff0000'>Sympathy for the devil</FONT>: Max, a fictional account of Hitler's early days as a struggling artist, seeks to reveal the man behind the monster. Demetrios Matheou and Richard Black ask why other Hitler portraits resort to ridicule.
Issue 147
July 2003
Main Cover
<FONT COLOR='#ff0000'>Thieves like us</FONT>: Lars von Trier's Dogville was the talking point at this year's Cannes. On an exclusive visit to the set, Stig Bjorkman talked to the director and his star Nicole Kidman Plus our round-up of Cannes 2003.<BR>
<F
Issue 148
August 2003
Main Cover
<FONT COLOR='#ff0000'>Shock Around The Clock</FONT>: The second series of 24 understands the fears that drove America to war in Iraq, claims David Thomson, as he re-imagines the show directed by David Lynch and Tarantino.<BR>
<FONT COLOR='#ff0000'>In The
Issue 149
September 2003
Main Cover
<FONT COLOR='#ff0000'>Eurocentric: Edinburgh 2003</FONT>: From a festival with a 'New Europe' theme we feature Mike Hodges' thriller I'll Sleep When I'm Dead, a dark revenger's tragedy. The director talks to Stephen Chibnall about self-loathing and London
Issue 150
October 2003
Main Cover
<FONT COLOR='#ff0000'>Turning on a dime</FONT>: As volume one of Kill Bill is released, Quentin Tarantino tells Mark Olsen how he gets his audience just where he wants them and why he makes movies in his head.<BR>
<FONT COLOR='#ff0000'>Darkness falls</FON
Issue 151
November 2003
Main Cover
<FONT COLOR='#ff0000'>Play Madigan For Me</FONT>: Clint Eastwood has returned to pre-Dirty Harry days to make a crime film that matches the best of his Westerns. Adrian Wootton dissects the moral universe of Mystic River.<BR>
<FONT COLOR='#ff0000'>Sex And
Issue 152
December 2003
Main Cover
<FONT COLOR='#ff0000'>What a carve up!</FONT>: Horror films endlessly devour and regurgitate characters and ideas. Mark Kerrnode asks what new versions of 1970s shockers The Texas Chain Saw Massacre and Alien might mean for today's audiences. Plus Kim New
2004
Issue 153
January 2004
Main Cover
<FONT COLOR='#ff0000'>Tokyo Drifters</FONT>: Sofia Coppola's Lost in Translation is an evocative and off-beat romantic comedy with an unusual moral twist, says Paul Julian Smith Plus Mark Olsen talks to the director about writing and New York cool.<BR>
<F
Issue 154
February 2004
Main Cover
<FONT COLOR='#ff0000'>The Last Frontier</FONT>: Westerns since The Searchers have failed to show the realities of inter-racial relationships - and Ron Howard's The Missing is no exception, argues David Thomson.<BR>
<FONT COLOR='#ff0000'>Shock Corridors</F
Issue 155
March 2004
Main Cover
<FONT COLOR='#ff0000'>Enigma Variations</FONT>: 21 Grams, Alejandro Gonzallez Inarritu's powerful follow-up to Amores perros, shuffles scenes from its characters' lives and gets the audience to put the pieces together. Is it a dressed-up soap opera or a d
Issue 156
April 2004
Main Cover
<FONT COLOR='#ff0000'>Hell In Jerusalem</FONT>: Mel Gibson's The Passion of the Christ has been lambasted for its historical portrayal of the Jews. But does it work as a film, asks Nick James? Plus Stephen J. Brown surveys the career of Jesus the movie st
Issue 157
May 2004
Main Cover
<FONT COLOR='#ff0000'>I Forgot To Remember To Forget</FONT>: Scrambling memory and time have become key conceits for contemporary film-makers. Nick James asks what movies like the Charlie Kaufman-scripted Eternal Sunshine of the Spotless Mind tell us abou
Issue 158
June 2004
Main Cover
<FONT COLOR='#ff0000'>All I Desire</FONT>: Bad Education marks a further maturing of Pedro Almodovar's style with its spidery plot and elegant mise en scene. And this deeply felt autobiographical work has struck a chord with Spanish audiences. Paul Julian
Issue 159
July 2004
Main Cover
<FONT COLOR='#ff0000'>Mission Improbable</FONT>: Michael Moore hopes Palme d'Or winner Fahrenheit 9/11 will provoke the downfall of the Bush regime. B. Ruby Rich thinks he needs to learn a trick or two about rhetoric.<BR>
<FONT COLOR='#ff0000'>In The Mood
Issue 160
August 2004
Main Cover
<FONT COLOR='#ff0000'>Debrief Encounter</FONT>: Richard Linklater's Before Sunset reunites Ethan Hawke and Julie Delpy nine years on for a real-time walkabout through Paris. Romance is not dead, says Nick James.<BR>
<FONT COLOR='#ff0000'>Hanging Out</FONT
Issue 161
September 2004
Main Cover
<FONT COLOR='#ff0000'>Edinburgh 2004</FONT>: The Motorcycle Diaries charts the future Che Guevara's South American road trip. Nick James talks to director Walter Salles. Plus Jim Jarmusch's Coffee & Cigarettes; The Hamburg Cell; Valerio Zurlini retros
Issue 162
October 2004
Main Cover
<FONT COLOR='#ff0000'>It Happened One Night</FONT>: Michael Mann claims Collateral is the first major studio picture to use digital for photorealism rather than economy or effects. He talks to Mark Olsen about his triumphant return to the crime genre.<BR>
Issue 163
November 2004
Main Cover
<FONT COLOR='#ff0000'>The Innocents</FONT>: Finding Neverland bends the truth about J.M. Barrie's creation of Peter Pan to boost its themes of art, death and the afterlife. It's magic, says Kevin Jackson.<BR>
<FONT COLOR='#ff0000'>Lolita's Lament</FONT>:
Issue 164
December 2004
Main Cover
Sadean Woman: In Anatomy of Hell Catherine Breillat takes the sexual explorations of Romance to new and disturbing extremes. She talks to Geoffrey Macnab about breaking the taboos that clothe the female body.<br>
Back At The Raunch: John Water's A Dirty S
2005
Issue 165
January 2005
Main Cover
So Many Moustaches!: A cache of films by Edwardian company Mitchell & Kenyon brings to life the ghosts of a lost world. Nick James watches in wonder.<br>
Fly Guy: In the The Aviator Martin Scorsese pays tribute to Howard Hughes and Hollywood's golden age.
Issue 166
February 2005
Main Cover
Red, White And Brew: In Sideways Alexander Payne follows two emotionally retarded middle-aged men around the Californian vineyards. But how does he make us like them, asks Mark Salisbury.<br>
Muscular Contractions: Sex scenes are a matter of letting the a
Issue 167
March 2005
Main Cover
Lesser Spotted Fish And Other Stories...: Wes Anderson's The Life Aquatic with Steve Zissou charts the problems of an autocratic, obsessive director. 'It's not based on me,' he promises Kevin Conroy Scott. Plus Ali Jaafar explores the underwater world of
Issue 168
April 2005
Main Cover
Tell It To The Camera: Jonathan Caouette's Tarnation stitches together home movies from his childhood onwards into a no-budget documentary of wrenching emotional honesty and visual power. B. Ruby Rich reports.<br>
Theatre of Complicity: Catherine Deneuve
Issue 169
May 2005
Main Cover
Only Human: Douglas Adams' surreal SF comedy Hitchhiker's Guide to the Galaxy was a huge cult success as a radio series, a TV show and a novel. But does the long-awaited film adaptation work, asks Andrew Osmond. Plus its director-producer team talk to Edw
Issue 170
June 2005
Main Cover
The Godard Interview: I, A Man Of The Image: The upbeat mood of Godard's Notre musique, in which war is hell, Sarajevo a purgatory and heaven a lakeside idyll, was not built to last. 'It's exhausted,' the director tells Michael Witt.<br>
The Fickle Finger
Issue 171
July 2005
Main Cover
Funny Peculiar: Bald, gangly and nervous-looking, Alastair Sim was one of British cinema's great eccentrics. And among its finest actors, argues Michael Brooke.<br>
Geometry Of Feelings: Alain Delon and Monica Vitti adorn L'eclisse, a chilly, formally dar
Issue 172
August 2005
Main Cover
Edinburgh Cringe: Festival is a freewheeling Altmanesque comedy about the Edinburgh Fringe festival. So how come it's funny and tragic and romantic all at once? Director Annie Griffin, creator of television's The Book Club, knows how. All comedians 'are l
Issue 173
September 2005
Main Cover
The Storyteller: Ian Christie explains how Michael Powell's unfinished fantasia of 1973 moves between the imagined and reality, scrolling through his life and loves with wit and sensuality.<br>
Edinburgh 2005: The Sun: Aleksandr Sokurov's new film is an u
Issue 174
October 2005
Main Cover
Castles In The Sky: Veteran animator Hayao Miyazaki's new film Howl's Moving Castle draws on motifs from his past work and anime's longstanding fascination with children's literature, writes Andrew Osmond.<br>
School For Scandal: Dealing with an all-girls
Issue 175
November 2005
Main Cover
Kiss Kiss Bang Bang: Edward Lawrenson on a thriller that takes a knowing look at Hollywood<br>
Good Night And Good Luck: Geoffrey Macnab on George Clooney's tribute to speaking your mind<br>
The Death Of Mr Lazarescu: Mark Cousins on death in Bucharest<br
Issue 176
December 2005
Main Cover
Script Special: The Man Who Wasn't There: Eliot Stannard wrote Hitchcock's ?rst ?lms and produced one of the earliest screenwriter's manuals. Michael Eaton heralds a forgotten pioneer of British cinema<br>
Songs For Swinging Lovers: A lurid look at the da
2006
Issue 177
January 2006
Main Cover
Mexico Rising: Interview: Ra?l Ruiz talks about medieval religion and chaos theory and asks whether cinema is one of the three hundred known arts<br>
Western Special: Lonesome Cowboys: Brokeback Mountain is not only a gay Western but also one of the great
Issue 178
February 2006
Main Cover
<FONT COLOR='#ff0000'>Vengeance Is Theirs</font>: Think of Korean cinema and you probably conjure scenes of gangster glamour and extreme violence. But how accurate are western perceptions, asks Grady Hendrix<br>
<FONT COLOR='#ff0000'>Interview: Park Chan-
Issue 179
March 2006
Main Cover
Ballad Of The Wild Boys: Nick Cave and John Hillcoat's Australian outback Western The Proposition combines beauty with brutality. Nick Roddick talks to its makers about drugs, music, poetry and Peckinpah.<br>
Natural Selection: Nicloas Winding Refn's Push
Issue 180
April 2006
Main Cover
Weight Of Water: The Dardenne brothers' special brand of realism has twice won them the Palme d'Or. As their most recent Cannes triumph L'Enfant (The Child) - about a young father who unthinkingly sells his baby - gets a UK release, Jonathan Romney talks
Issue 181
May 2006
Main Cover
Features
#Under The Influence
Dominik Moll's Lemming shows the influence of Hitchcock's The Birds. How far has the French thriller tradition been shaped by the work of the master metaphysician - and does it matter, asks Robin Buss. Plus James Bell talks
Issue 182
June 2006
Main Cover
Features
#Women, Windmills And Wedge Heels
With Volver Pedro Almod?var has made a welcome return to comedy, the country and his favourite actresses. By Paul Julian Smith
#Shimura Takashi: The Last Samurai
Kurosawa is best known for his director-actor pa
Issue 183
July 2006
Main Cover
Features
#Cannes 2006: American Decadence And Other Tales
Adulterated meat, surveillance and US excess proved the abiding themes of Cannes 2006. Some anticipated films proved duds, but smaller pleasures abounded says Nick James.
#Cannes 2006: Unpopular C
Issue 184
August 2006
Main Cover
Features
#Animation: Timeline
Andrew Osmond assesses the new innovative directions being taken with Animated cinema releases this Summer. This timeline is a longer version of what appears in the magazine.
#Songs For Swinging Lovers
With Three Times Hou
Issue 185
September 2006
Main Cover
Features
#Edinburgh 2006: Giant Steps
US cinema in the early 1970s is a story of film-makers who refused to sell out. David Thomson celebrates a programme of their work at the Edinburgh International Film Festival.
#Edinburgh 2006: Ten Sight & Sound Edin
Issue 186
October 2006
Main Cover
Features
#Out Of The Rubble
Oliver Stone's World Trade Center tells the heartwarming story of two policemen plucked from the rubble. But is garnering sympathy for America's 9/11 tragedy now a lost cause, asks B. Ruby Rich
#Royal Blues
The Queen, directed
Issue 187
November 2006
Main Cover
Features
#Jewels In The Crown
The Venice festival combined Hollywood blockbusters with more innovative indie film-making from Europe and the US. But it was a series of films from Asia and Africa commissioned in Vienna that was its strongest suit. By Jame
Issue 188
December 2006
Main Cover
Features
#Girl Interrupted
Set against a backdrop of the vicious reprisals that marked the end of the Spanish Civil War, Guillermo del Toro's Pan's Labyrinth creates a beautiful and terrifying fantasy netherworld for the young girl at its centre. Could i
2007
Issue 189
January 2007
Main Cover
Features
#British Cinema Now: The Lost Leader
Colin MacCabe recalls Derek Jarman - and the joys of Super-8, queer politics and arthouse funding. Plus Melissa Gronlund on how film artefacts are filling the galleries
#Before The Flood
Gary McMahon walks t
Issue 190
February 2007
Main Cover
Sleeping With The Enemy: Back in 2003 Paul Verhoeven said that he had to leave Hollywood to save his soul. Now Black Book sees him return to his native Holland for a story that injects sex and adventure into the ambiguous realities of World War II resista
Issue 191
March 2007
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The Ceremony Of Innocence: From Mick Jagger to Allen Ginsberg, Peter Whitehead captured the personalities and politics of the 1960s in films such as Tonite Let's All Make Love in London and The Fall. What drove him to give it all up in pursuit of falconry
Issue 192
April 2007
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Sound And The Fury: Terence Davies: The Long Day Closes captures the sounds of a postwar iverpool childhood and the redeeming power of the picturehouse. But why can't director Terence Davies keep in regular work asks David Thompson.<br>
Unknown Soldiers:
Issue 193
May 2007
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New Boots And Rants: It's 1983 and a victorious Margaret Thatcher has set her sights on the enemy at home. Shane Meadows' This Is England captures the era's embattled and tribal youth cultures with warmth and style. By Jon Savage.<br>
You Must Be Joking:
Issue 194
June 2007
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10 Picks from the Grindhouse: Tim Lucas gets down and dirty - then takes himself off for a shower.<br>
Radical Chic: As the Cannes film festival celebrates its 60th birthday, Chris Darke uncovers the history of political radicalism that underlies the glit
Issue 195
July 2007
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<FONT COLOR='#ff0000'>Ken Russell: Sweet Swell Of Excess</font>: The wild exuberance, surreal imagination and sheer vulgarity of Ken Russell's films of the 1970s and 1980s have earned him a place as patron saint of British extreme, argues Linda Ruth Willi
Issue 196
August 2007
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<FONT COLOR='#ff0000'>Roll Forever</font>: To mark a season of Andy Warhol films at the BFI Southbank, director Gus Van Sant tells Amy Taubin why he's been described as the Factory artist's alter ego.<br>
<FONT COLOR='#ff0000'>Back to School</font>: Harry
Issue 197
September 2007
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<FONT COLOR='#ff0000'>Love in the afternoon</font>:
D.H. Lawrence's iconic tale of unbridled passion has had many interpreters. But none has captured its title character's sensual awakening as effectively as Pascale Ferran in Lady Chatterley. Geoffrey Ma
Issue 198
October 2007
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<FONT COLOR='#ff0000'>Eastern Promise</font>:
Films like The Death of Mr. Lazarescu and Palme d'Or-winner 4 Months, 3 Weeks and 2 Days point to Romania as the cradle for the next cinematic new wave. Nick Roddick reports.<br>
<FONT COLOR='#ff0000'>A Worl
Issue 199
November 2007
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<FONT COLOR='#ff0000'>Robert Bresson: Alias Grace</font>:
Robert Bresson produced a poetic and uncompromising body of work that defined the limits of cinema as an artform. By Michael Brooke PLUS Olivier Assayas, Aki Kaurism?ki, Paul Schrader, Bruno Dumon
Issue 200
December 2007
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<FONT COLOR='#ff0000'>The Incomplete Tsai Ming-liang</font>:
Who else could combine sex with watermelons and the backdrop of an abandoned, leaking building into an ascetic musical? Roger Clarke talks to Taiwanese cinema's great poet of eroticism and lone
2008
Issue 201
January 2008
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<FONT COLOR='#ff0000'>The Road Goes On Forever</font>:
Wim Wenders took the language of American film - in particular the rambling alienation of the road movie - and gave it a distinctly European spin. Nick Roddick travels the director's landscapes of th
Issue 202
February 2008
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<FONT COLOR='#ff0000'>Burt Lancaster Charmer Chameleon</font>:
Whether embodying a roughened cowboy, a swashbuckling daredevil, a small-time crook or an Italian prince, Burt Lancaster brought a sharp intelligence and physical grace to his roles. Philip
Issue 203
March 2008
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<FONT COLOR='#ff0000'>Boys' Own Stories</font>:
In the last decade a talented collection of players - including Wes Anderson, Charlie Kaufman, Ben Stiller, Will Ferrell and Owen Wilson - have brought their own brand of improvisational comedy and wry hum
Issue 204
April 2008
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<FONT COLOR='#ff0000'>Berlinale 2008: You Can't Always Get What You Want</font>:
It was a weak competition in which the artistry of Mike Leigh and Errol Morris raised the stakes - but did the unseasonable sunshine turn the jurors' heads, asks Nick James
Issue 205
May 2008
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<FONT COLOR='#ff0000'>Down In The Hole</font>:
HBO's cult series The Wire cuts across both sides of the law in its depiction of Baltimore's drug scene. Kent Jones celebrates a 60-hour epic that rises beyond the level of good TV.<br>
<FONT COLOR='#ff000
Issue 206
June 2008
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<FONT COLOR='#ff0000'>Return Of The Cool</font>:
Nick James talks to Bruce Weber about his stylish 1988 portrait of Chet Baker.<br>
<FONT COLOR='#ff0000'>Cinema Of The New Europe: Lest We Forget</font>:
Veteran Polish film-maker Andrzej Wajda's new
Issue 207
July 2008
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<FONT COLOR='#ff0000'>Cannes 2008: A royal rumpus</font>:
British cinema held its head high at this year's Cannes, with remarkable debuts from Steve McQueen and Duane Hopkins, and a moving return from Terence Davies. By Nick James.<br>
<FONT COLOR='#ff
Issue 208
August 2008
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Dream Tickets: With their inventive double bills, repertory cinemas once entertained and challenged their audiences. Sight & Sound asks 52 critics and programmers to do the same by choosing their own fantasy pairings. Introduction by Jane Giles.<br>
Fami
Issue 209
September 2008
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Popcorn Patter: Terrence Malick's Badlands now seems less a study of alienated youth and more like a screwball Western,argues David Thomson.<br>
Reflections In A Golden Eye: Frederick Wiseman's dedication to chronicling American civic life should not dis
Issue 210
October 2008
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Who needs critics?: Critics need to show more passion and conviction if they're still to matter in the internet age, argues Nick James PLUS our panel of leading critics select examples of the great writing that inspires them; Mark Fisher on the vital role
Issue 211
November 2008
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The London Film Festival: Liverpool - A trilogy of closely observed characters: In his latest film the Argentinian director Lisandro Alonso varies and expands on his unique realist vision, argues Quint?n.<br>
The London Film Festival: Liverpool - Intervi
Issue 212
December 2008
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Radical Chic: Is The Baader Meinhof Complex a thoughtful examination of Germany's recent past or does it glamorise terrorism? By Andrea Dittgen. PLUS James Bell talks to producer Bernd Eichinger.<br>
Game for a century: As the great Portuguese director M
2009
Issue 213
January 2009
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Films of 2008: Sight & Sound asked 50 critics to choose their films of the year. The lists that they came up with reveal a surprising panoply of titles. And the top ten films are...PLUS Nick James on how 2008 has been better than expected and Ali Jaafar o
Issue 214
February 2009
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Features<br>
Sam Peckinpah
Taking a walk through the director's bloody flick Bring Me the Head of Alfredo Garcia, David Thomson explores Peckinpah's love/hate relationship with Mexico. PLUS David Weddle on his influential television work<br>
Mumbai risi
Issue 215
March 2009
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Features<br>
From romance to ritual
Barry Lyndon takes its inspiration from Thackeray's source novel. But in Kubrick's hands the tone - and the hero - are transformed. By Kim Newman<br>
Hall of mirrors
Kubrick's unmade 1990s project Aryan Papers has now
Issue 216
April 2009
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Features<br>
A brief history of cinematography
Barry Salt charts the technical and artistic developments in lighting that have transformed the look of cinema over the past century<br>
Prince of darkness
Il Divo's portrait of former Italian prime ministe
Issue 217
May 2009
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Features<br>
The New Wave at 50: The star reborn
Half a century after a group of young French directors changed forever the way films are made, we assess the legacy of the nouvelle vague. The movement also transformed film acting, introducing a new kind
Issue 218
June 2009
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Features<br>
Joseph Losey & Harold Pinter: In search of poshlust times:
From Venetian decadence and British class war to Proustian time games, the collaborations of Joseph Losey and Harold Pinter in the 1960s and 1970s introduced a new, high-culture kin
Issue 219
July 2009
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Features<br>
Stars in his eyes:
David Lynch's new music collaboration sees him use singing and photography in his continued exposing of the dark psyche of suburbia. He talks to James Bell<br>
Inflammable desires:
As Kenneth Anger's legendary 'Magick L
Issue 220
August 2009
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Features<br>
Gangsters special, part 3: Thunder roads
Since the 1960s, independent-minded US film-makers have been revisiting the Great Depression. Michael Atkinson explores the era's enduring appeal<br>
Seeing red: restoring The Red Shoes
With a little
Issue 221
September 2009
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The wild bunch:
They make films that are uncategorisable, in which cinematic language, taste and even reality itself are bent to their will. Mark Cousins hails the 50 revolutionary auteurs from around the world whom we have dubbed the 'Wild Bunch'.<br>
Issue 222
October 2009
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Features<br>
Going underground:
Billy Elliot screenwriter Lee Hall digs into the BFI National Archive's extraordinary collection of films about the mining industry, which offer a provocative and often moving celebration of everyday labour<br>
Crossing
Issue 223
November 2009
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Features<br>
Within a closed world: Jacques Audiard talks to Ginette Vincendeau about his follow-up to 'The Beat That My Heart Skipped', prison drama 'A Prophet'<br>
#Electric 'Underground': Director Anthony Asquith has long been dismissed as a lightweigh
Issue 224
December 2009
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Features<br>
Unexpected tenderness:
Michael Haneke's Palme d'Or-winner The White Ribbon is a tale of cruelty set in a north German village in 1913. Despite its monochrome austerity, Catherine Wheatley sees hints of a new softness in the director's work<
2010
Issue 225
January 2010
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Features<br>
Von Sternberg - six chapters in search of an auteur:
The six films Josef von Sternberg made with the star he 'created', Marlene Dietrich, are a triumph of pure style and sensual excess over novelettish plots. To welcome a new season, David T
Issue 226
February 2010
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Features<br>
Syndromes of a new century<br>
How have the first ten years of the 21st century changed cinema? From Argentina to Romania, from AlmodOvar to Weerasethakul, Nick James introduces Sight & Sound's selection of the 30 key films of the past decad
Issue 227
March 2010
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Features<br>
Obituaries<br>
Sight & Sound's comprehensive survey of the actors, directors, writers, producers and technicians who died during the course of 2009, compiled by Bob Mastrangelo. PLUS:<br>
Betsy Blair by Kieron Corless (online exclusive)<br>
Issue 228
April 2010
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Features<br>
Alice through the lens<br>
Mark Sinker compares the various artistic visionaries - from John Tenniel to Dennis Potter to Jan Svankmajer - who have put their stamp on Alice since 1865<br>
PLUS (in the magazine) Go ask Alice: Tim Burton is on
Issue 229
May 2010
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Features<br>
Italian Cinema: Maestros and mobsters:
Cinematic nostalgia, endemic corruption and the deadening hand of Silvio Berlusconi have prevented Italy's real story from being told on film for 30 years, says Nick Hasted. But now a new generation of
Issue 230
June 2010
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Features<br>
The Film Book poll: Writing about the art of cinema can be an art in itself. Having polled a wide range of leading international critics, we reveal our survey of the best film books ever published. Nick James browses the results.<br>
That was
Issue 231
July 2010
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Features<br>
Kurosawa on Kurosawa:
The director whom Steven Spielberg once described as "the pictorial Shakespeare of our time" was famously reluctant to discuss his films, but he opened up to Donald Richie in an interview first published in Sight & Sou
Issue 232
August 2010
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Britain's secret Brazilian:
More than any other director bar Hitchcock, the Brazilian Alberto Cavalcanti had a profound influence on British film-making in the 1930s and 40s. But he remains an unjustly overlooked figure, says Nick James.<br>
Cover featu
Issue 233
September 2010
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Out of the past: Frantisek Vlacil: Less celebrated internationally than his near contemporaries Forman and Menzel, the late Czech director Frantisek Vlacil's visionary medieval epics have recently been rediscovered in the West. But there was more to him t
Issue 234
October 2010
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The life and death of the UK Film Council<br>
From 'Cool Britannia' to coalition cold comfort, Geoffrey Macnab unravels the circumstances surrounding the recently announced demise of the UK Film Council<br>
PLUS Palme d'Or-winning producer Keith Griffit
Issue 235
November 2010
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Features<br>
Carlos: five hours of the Jackal: An epic biopic of legendary terrorist Carlos marks a change of pace for Olivier Assayas. By David Thompson<br>
English pastoral: Robinson in Ruins: 'Robinson in Ruins' marks the return of director Patrick Kei
Issue 236
December 2010
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Features<br>
Capra before he became 'Capraesque':
Celebrated each Christmas for the 'Capracorn' of It's a Wonderful Life, Frank Capra deserves reappraisal as a director in the light of the restoration of his 1920s silents and his luminous talkies of the
2011
Issue 237
January 2011
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2010: The year in review: Nick James introduces the results of this year's annual S&S poll, in which 85 contributors from around the world pick the top five films they saw in 2010, and their other movie highlights of the past 12 months<br>
Memento mori: O
Issue 238
February 2011
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Features<br>
Howard Hawks: Slim and the silver fox: The years Howard Hawks spent with his second wife Nancy - aka 'Slim' - were the richest of his film-directing career, as her style and influence inspired him to live out a recurring dream of their relati
Issue 239
March 2011
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Features<br>
Lost and found: The Watcher in the Woods: What's the missing link between Tron, The Legend of Hell House and a big blue alien? For Joseph Stannard, it's Disney's cult 1980 fantasy The Watcher in the Woods<br>
Jafar Panahi: the green badge of
Issue 240
April 2011
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Features<br>
The pride and the passion: 25 years of the London Lesbian and Gay Film Festival<br>
After a groundbreaking quarter of a century, the LLGFF is still relevant, says programmer Brian Robinson<br>
Lost and found: The Red House<br>
Filmmaker Cha
Issue 241
May 2011
Main Cover
Features<br>
Bernardo Bertolucci: Just like starting over<br>
To mark a comprehensive Bertolucci retrospective, Tony Rayns looks back at the early 1960s, when the great Italian director hit his stride and emerged from the shadow of his mentors, Pasolini
Issue 242
June 2011
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Issue 243
July 2011
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Issue 244
August 2011
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Features<br>
Lost and found: Across the Bridge:
A model of adaptation, Across the Bridge cleverly expands Graham Greene's original short story, says the screenwriter Paul Mayersberg<br>
The old soldier: Jean-Luc Godard's Film Socialisme:
More than hal
Issue 245
September 2011
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Issue 246
October 2011
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,
Issue 247
November 2011
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Features<br>
Tarnished angel: Miss Bala: The story of a would-be beauty queen who falls foul of Mexico's drug gangs, Miss Bala is more than just another document of Latin America's social ills, says Paul Julian Smith<br>
Cover feature: BFI London Film Fes
Issue 248
December 2011
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Features<br>
Michael Shannon: trouble in mind: For years Michael Shannon has been building a reputation as an intense, risk-taking actor on stage and in supporting roles. But his compelling turn as the dream-haunted everyman in Take Shelter proves he can
2012
Issue 249
January 2012
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Features<br>
Lost and found: Spring Night, Summer Night: J.L. Anderson's backwoods Appalachian love story is a forgotten classic of 1960s indie neorealism, says Ross Lipman<br>
2011: The year in review: In a strong year for arthouse cinema, Terrence Malic
Issue 250
February 2012
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Features: <br>
Theo Angelopoulos: the sweep of history: As his oeuvre is released on DVD, Theo Angelopoulos revisits his career with David Jenkins<br>
Jean Vigo: Artist of the floating world: Vigo's sole full-length feature bridged the surrealism of 1920s
Issue 251
March 2012
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Features<br>
Remain in light: Mulholland Dr. and the cosmogony of David Lynch: As our ten-yearly poll to find the Greatest Film of All Time gets ever closer, B. Kite considers David Lynch's Mulholland Dr. in the light of the Vedanta-inspired spiritual phi
Issue 252
April 2012
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Features<br>
Light my fire: The Hour of the Furnaces: As S&S counts down to the September issue's once-a-decade poll to find the Greatest Film of All Time, French critic Nicole Brenez makes the case for one of the key revolutionary activist films of the 1
Issue 253
May 2012
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Features<br>
The great escape: La Grande Illusion: In past S&S polls of the greatest films of all time, Jean Renoir's La Grande Illusion has lost out to his later, allegedly more personal film La Regle du jeu. It's time to reconsider, says Ginette Vincend
Issue 254
June 2012
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Features<br>
Cover feature: An island of his own:Set on an island off the coast of the US in the mid-60s, on the eve of that decade's upheavals, Moonrise Kingdom is the latest of the self-contained worlds created by Wes Anderson. Nick Pinkerton talks to t
Issue 255
July 2012
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Issue 256
August 2012
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Features<br>
Cover feature: The genius of Hitchcock: Since his twenties, when he wrote a book about Hitchcock, Pan's Labyrinth director Guillermo del Toro has returned to his films again and again. He offers a director's POV on what we can learn from the
Issue 257
September 2012
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Cover feature: The 2012 Critics' Poll<br>
Once a decade we ask critics to select the Greatest Films of All Time. This year 846 of them responded. We unveil the Top 100, plus 100 personal top tens from David Thomson, Camille Paglia, J. Hoberman, Mark Ker
Issue 258
October 2012
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Our October issue kicks off with an illuminating look at Holy Motors, the daring and unclassifiable new film from provocative French maverick Leos Carax. David Thompson decodes the complex web of cinematic homages and references at play in Carax's dazzlin
Issue 259
November 2012
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"Our November festival special issue brings you the best of Venice, Toronto and the upcoming London film festivals: Ben Walters explores the strain of “British bathetic bucolic†in Ben (Kill List) Wheatley’s cover black comedy Sightseers, Jacques Au
Issue 260
December 2012
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