Editorial

We pay tribute to the great French actor who left an indelible mark on cinema and pop culture.

With new features from Pedro Almodovar and Luca Guadagnino, Todd Field's Joker: Folie à deux and Pablo Larrain’s portrait of Maria Callas, here are the unmissable films at this year’s festival.

Few Indian films have made an impression on global cinema like the two-part crime epic Gangs of Wasseypur. Few Indian directors have made such an impact, either— changing the way their cinema is understood both at home and abroad. Writing for A Rabbit’s Foot, Anurag Kashyap describes the influences and experiences that led to his sweeping gangster story.

American modernist painter Georgia O'Keeffe is an enduring influence on the arts, as well as being famous for her distinct personal style. In this essay, Lucy Davies explores her legacy.

The prolific filmmaker Sidney Lumet would have turned 100 this year. Although not as famous as Spielberg or Scorsese, Lumet made significant contributions to American cinema with iconic films like 12 Angry Men, Serpico, and Network. PK Fellowes explores the director’s origins, and charts an influential filmic oeuvre that explores moral dilemmas and societal decay.

The 2008-set comedy-drama stirringly explores the ache of adolescence at the turn of the new millennium.

The Irish hip hop trio Kneecap, famed for their irreverent, politically-charged music have followed up their debut album with a mainstream film feature. Directed by Rich Peppiatt, it is a semi-fictionalised biopic which explores the Irish language as a form of freedom and paints a portrait of West Belfast as it is today.

Mapping onto a rising real-life demographic, a new fleet of emotionally attuned single parent films, from The Florida Project to Janet Planet, is exploring the gap between parental responsibility and freedom.

Katie Driscoll pens a dispatch from Fårö, an island on the Southeast coast of Sweden where the spectre of Ingmar Bergman still looms large.

Seijun Suzuki was a maverick of Japanese cinema who served as the antithesis that noir should inherently be rooted in the real world. Though he was a company man for Nikkatsu, it was his tempestuous collaborations with the production studio that inadvertently birthed one of Japan’s most bold anti-establishment auteurs—a playful renegade with a knack for the absurd.