Ninety years after his birth, and as a season of his films begins at the ICA, we suggest a beginner’s path through one of the heavyweights of European arthouse cinema: Greek master Theo Angelopoulos.

American producers the Danziger brothers established a hive of brisk, low-budget genre movies and cult TV in 1950s Britain. Son of a Stranger was a crime melodrama that tapped into the current vogue ...

Terence Davies’s sumptuous story of New York high society returns to UK cinemas this week. In our October 2000 issue, Philip Horne explored what made the film “an unpredictable, unformulaic success”.

Explore about how the archive is becoming more environmentally friendly and how we're streamlining the way we collect online moving image material ...

The line-up leads with a season dedicated to James Cameron, the multi-Academy Award-winning mastermind behind the biggest films in the history of cinema.

Voting for the ever-popular LFF Audience Awards closes on Monday 20 October. The winners of Best Feature Film and Best British Feature Film categories will be announced in due course. 2024 winners of ...

Adapted from the acclaimed memoir by Lidia Yuknavitch, Stewart’s directorial debut will be in UK and Irish cinemas from 6 February 2026.

Vesuvius tremors, tomb raiders and patient Neapolitan Fire Brigade workers all have a part to play in Gianfranco Rosi’s poetic meditation on the fragile nature of Naples.

From Eyes Without a Face to Raw, French horror trips the line between realism and the uncanny, and pushes into a realm of profound discomfort.

The project rewrote the story of early film, revealing a thriving early 20th century industry of local, non-fiction filmmaking. Mitchell and Kenyon toured northern and central England, Scotland, ...

The LFF closing night film is a storybook fable based on Isabel Greenberg’s graphic novel. We spoke to director Julia Jackman about a movie rooted in fairytales but with a very contemporary call to ...

The final shot of Joseph L. Mankiewicz’s glorious, barbed 1950 masterpiece sneakily suggests that the real villain is not Eve Harrington herself but female ambition in general.