In charismatic performances of immense restraint over more than half a century, Robert Redford blended traditionalism, predictability and inscrutability to great effect. From our January 2019 issue.

Kicking off a new series celebrating the 200th anniversary of the UK’s passenger railways, curator Steven Foxon offers a whistle-stop tour of the long-running love affair between cinema and trains, ...

Transposing the story of the recent Nazi destruction of a Czech mining village to the Welsh valleys, Jennings’ 1943 film The Silent Village was a powerful alternative-history story that prompted a ...

All copies are now lost, but the 1950s TV show The Gallery of Madame Liu-Tsong was a genuine landmark in television history: the first show with an Asian-American star and the first centred around a ...

Werner Herzog’s Aguirre is a fevered descent into madness and myth, where colonial ambition meets cosmic futility. Blending hallucinatory Romanticism with Brechtian realism, his jungle epic becomes a ...

Dead of Night’s most chilling moments come at its close, which lock its lead character in an endless cycle of “purgatorial dread and guilt”, wrote Edward Parnell in our January 2020 issue.

Rob Reiner’s follow-up to This Is Spinal Tap (1984) has plenty of great gags, but without the sharp satire of the original, it feels too close to the hagiographic music docs it once mocked.

A five-year-old girl in Taipei becomes convinced the devil is working through her left hand in Shih-Ching Tsou’s debut feature, an electric family drama co-written and edited by Sean Baker.

As the ultimate mockumentary This Is Spinal Tap gets a new sequel, here’s a list that should really go up to 11.

Six critics pick the discovery films that bowled them over from the international selection at this year’s Biennale.

In her six films in the UK in the late 1920s and early 30s, Asian-American star Anna May Wong challenged the norms of representation in British cinema, forging her own unique brand of transnational ...

Jarmusch’s surprise Golden Lion winner blends arch humour and awkwardness in a trio of short-form sibling stories with a bittersweet core.