Features and reviews

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

Interviews

“Sometimes you don’t need to have gone to film school”: Daisy-May Hudson on her debut fiction feature Lollipop

Shot through with beauty and joy, Lollipop is a story of motherhood in a broken system told in the urgent tradition of Ken Loach and Clio Barnard. Director Daisy-May Hudson tells us how the film is shaped by lived experience and a fresh approach to film production.

By Rachel Pronger

“Sometimes you don’t need to have gone to film school”: Daisy-May Hudson on her debut fiction feature Lollipop

Interviews

Takeshi Kitano, a rare interview: “There are diverse patterns of queerness in Japanese society”

By Blake Simons

Takeshi Kitano, a rare interview: “There are diverse patterns of queerness in Japanese society”

Interviews

The game of observation: a new interview with Darling and Eyes Wide Shut screenwriter Frederic Raphael

By Alex Ramon

The game of observation: a new interview with Darling and Eyes Wide Shut screenwriter Frederic Raphael

From the Sight and Sound archive

“We need to proceed with great caution”: Natasha Lyonne on AI and the Sag-Aftra strike

By Dominic Lees

“We need to proceed with great caution”: Natasha Lyonne on AI and the Sag-Aftra strike

Interviews

“I wanted to approach the curation from a position of abundance”: Wanda and Beyond curator Elena Gorfinkel on her season around one-feature filmmaker Barbara Loden

By Rachel Pronger

“I wanted to approach the curation from a position of abundance”: Wanda and Beyond curator Elena Gorfinkel on her season around one-feature filmmaker Barbara Loden

Interviews

“The audience will forgive bad animating but they’ll never forgive a bad story”: Adam Elliot on Memoir of a Snail

By Katie McCabe

“The audience will forgive bad animating but they’ll never forgive a bad story”: Adam Elliot on Memoir of a Snail

Interviews

“I never made a movie to just go make a movie, it was always an exploration of filmmaking”: our world exclusive interview with Tom Cruise

By Isabel Stevens

“I never made a movie to just go make a movie, it was always an exploration of filmmaking”: our world exclusive interview with Tom Cruise

Interviews

Wong Kar Wai on In the Mood for Love at 25 – a new interview: “Can an algorithm understand the weight of a glance between two people?”

By Sam Wigley

Wong Kar Wai on In the Mood for Love at 25 – a new interview: “Can an algorithm understand the weight of a glance between two people?”

Interviews

“We inadvertently began the hip-hop movement in Japan”: Fran Rubel Kuzui on the return of her 80s indie gem Tokyo Pop

By Josh Slater-Williams

“We inadvertently began the hip-hop movement in Japan”: Fran Rubel Kuzui on the return of her 80s indie gem Tokyo Pop

Interviews

“I can think of nothing more boring than a live concert film”: Iain Forsyth, Jane Pollard and Emiliana Torrini on The Extraordinary Miss Flower

By Leigh Singer

“I can think of nothing more boring than a live concert film”: Iain Forsyth, Jane Pollard and Emiliana Torrini on The Extraordinary Miss Flower

Interviews

“I don’t exist as a director in Georgia”: Dea Kulumbegashvili on her haunting abortion drama April

By Katie McCabe

“I don’t exist as a director in Georgia”: Dea Kulumbegashvili on her haunting abortion drama April

Interviews

“We’re recreating the devil’s music”: composer Ludwig Göransson on Sinners

By Lou Thomas

“We’re recreating the devil’s music”: composer Ludwig Göransson on Sinners

Interviews

Sex work and the city: Mikko Mäkelä on his intimate meta-narrative Sebastian

By Sam Wigley

Sex work and the city: Mikko Mäkelä on his intimate meta-narrative Sebastian

Interviews

“The more craic people are having on the shoot, the less funny it’s going to be”: Darren Thornton on his tragicomedy Four Mothers

By Josh Slater-Williams

“The more craic people are having on the shoot, the less funny it’s going to be”: Darren Thornton on his tragicomedy Four Mothers

Interviews

“We resisted neurotypical ways of making films”: how The Stimming Pool creates space for an autistic cinema

By Lillian Crawford

“We resisted neurotypical ways of making films”: how The Stimming Pool creates space for an autistic cinema

Interviews

“We use virgin olive oil, and oil the eye”: the Quay brothers on the method behind their uncanny worlds

By Jonathan Romney

“We use virgin olive oil, and oil the eye”: the Quay brothers on the method behind their uncanny worlds

From the Sight and Sound archive

Build my gallows high: Joshua Oppenheimer on The Act of Killing

By Nick Bradshaw

Build my gallows high: Joshua Oppenheimer on The Act of Killing

Interviews

“It’s a blood opera”: on set for Gangs of London season three

By Josh Slater-Williams

“It’s a blood opera”: on set for Gangs of London season three

Interviews

James Schamus on a new The Wedding Banquet: “Over the years, I’ve come to the conclusion that what we call civilisation and culture is more or less queer”

By Blake Simons

James Schamus on a new The Wedding Banquet: “Over the years, I’ve come to the conclusion that what we call civilisation and culture is more or less queer”

Interviews

“I had to say something about what it feels like to be a Black queer person in America”: Shatara Michelle Ford on Dreams in Nightmares

By Rógan Graham

“I had to say something about what it feels like to be a Black queer person in America”: Shatara Michelle Ford on Dreams in Nightmares

Interviews

The first great work of gig economy cinema: Laura Carreira on her powerful debut On Falling

By Rachel Pronger

The first great work of gig economy cinema: Laura Carreira on her powerful debut On Falling

Interviews

Night Stage: Filipe Matzembacher and Marcio Reolon on their public-sex thriller

By Lou Thomas

Night Stage: Filipe Matzembacher and Marcio Reolon on their public-sex thriller

Festivals

20 years of the Glasgow Film Festival: tales of festivals past from longtime director Allison Gardner

By Josh Slater-Williams

20 years of the Glasgow Film Festival: tales of festivals past from longtime director Allison Gardner

Interviews

Mario Van Peebles on his career in Hollywood: “They shut the financial door on Black film for damn near 20 years”

By Mia Mask

Mario Van Peebles on his career in Hollywood: “They shut the financial door on Black film for damn near 20 years”

Interviews

Nadia Falls on Brides: “It’s about those ride-or-die best friends that you have as a teenager”

By Lou Thomas

Nadia Falls on Brides: “It’s about those ride-or-die best friends that you have as a teenager”

The NHS at 75

From trans health to children’s palliative care: how three new short films tell untold stories of the NHS

By Xavier Alexandre Pillai

From trans health to children’s palliative care: how three new short films tell untold stories of the NHS

Interviews

Guy Pearce on The Brutalist: “It’s about an artist trying to stay uncompromising”

By Lou Thomas

Guy Pearce on The Brutalist: “It’s about an artist trying to stay uncompromising”

Interviews

David Lynch on music and innovation: “I like to call it experimentation”

By Sam Wigley

David Lynch on music and innovation: “I like to call it experimentation”

Interviews

Leigh Whannell on Wolf Man: “It’s not just about infection, it’s about feeling like you’re failing at parenting”

By Lou Thomas

Leigh Whannell on Wolf Man: “It’s not just about infection, it’s about feeling like you’re failing at parenting”

Interviews

“We live in the age of cement and sugar”: Victor Kossakovsky on Architecton, his gargantuan vision of rock and ruin

By Nick Bradshaw

“We live in the age of cement and sugar”: Victor Kossakovsky on Architecton, his gargantuan vision of rock and ruin