Editorial

Natasha A. Fraser looks back on the cinematic legacy of her stepfather Harold Pinter (1930–2008), whose fourteen screenplays were directed by the likes of Joseph Losey, Elia Kazan and Karel Reisz. Here, Fraser fondly remembers Pinter’s understanding of actors, the yellow legal pads he wrote his scripts on, his Hollywood flirtations and disdain for the clutter of Academy correspondence.

The French-Algerian Palestinian filmmaker's second film retraces the resilient legacy of the Palestinian women in her family.

Rick Rubin talks to A Rabbit's Foot about his intimate Festival of the Sun, which took place in Tuscany last weekend.

Agnieszka Holland discusses Green Border, a dramatisation of the migration crisis on the Belarus-European Union border, staged from the perspective of refugees and border guards.

A Rabbit's Foot talks to director Gus Van Sant, stars Matt Dillon and Kelly Lynch, producers Laurie Parker and Nick Wechsler, and screenwriter Dan Yost about the film that helped kick off a new wave of American independant cinema.

From a tome on director's clothing, an academic masterpiece on Yasujiro Ozu and soon-to-be adapted novels, here are the books you should read this summer.

One of the most significant actors in French film history, Jeanne Moreau made her name playing alluring but troubled heroines. Whilst the term femme fatale followed Moreau to the grave, Kitty Grady explores how Moreau brought a more nuanced definition to the age-old archetype, one that coincided with the birth of the French New Wave.

Amber Guinness visits Salina, location of 1994 film Il Postino, exploring the Aeolian island’s food culture, and in particular its close relationship and reliance on the humble caper.

Viggo Mortensen discusses his second feature, The Dead Don’t Hurt, his new collaboration with Argentine filmmaker Lisandro Alonso, Eureka, and his publishing company Perceval Press. In his own words, the actor speaks with the lyricism befitting of a writer and a poet—two metiers that he considers as integral to his creative output as his acting. 

The acclaimed director discusses his latest feature Hit Man—an ingenious fusion of noir and screwball that continues his exploration of time, identity and human malleability.