The film critic Emilie Bickerton on the glory days of Cahiers du cinéma and politically engaged film
A display at the V&A of clothes and accessories from Grace Kelly’s royal wardrobe reveals too much o
Chris Morris made his name with abrasive satire, so it’s a surprise his terrorist-mocking debut feat
A film special, Leo Robson on new British fiction, and all our usual columns.
Do you agree with our list?
Chosen by New Statesman staff.
Our critic's verdict on the (other) party political broadcasts.
Do you agree with our staff picks?
A shocking sequel leaves behind a sense of déjà vu.
Our critic's verdict on the party political broadcasts.
Ricky Gervais's silver screen efforts are no match for Andrew Bujalski's understated charm.
The Infidel shows how comedy can fight prejudice.
Don't believe the hype about Kick-Ass.
Ryan Gilbey admires a universal love story set in the Australian outback.
Why we just can't get enough of Psycho.
The Australian director talks about his acclaimed debut "Samson and Delilah".
Ryan Gilbey thinks he’s seen parts of this superhero caper somewhere before.
A longer version of this week's NS interview
“Satire is a black-and-white programme with Dudley Moore”
Ryan Gilbey is struck by the poverty of Cuba's child boxers.
Why the White Stripes' live film is a blast from the past.
Cinematic treasures from the East at the Kinoteka festival.
Scorsese serves up a trashy yet diverting thriller.
The graffiti artist's new film is more PR than politics.
Tim Burton comes a cropper with his foray into 3-D.
Slavoj Žižek on the "brutal racist overtones" of James Cameron's Avatar.
Film posters don't always get it right.
Is Michael Moore afraid of his own left-wing politics?
Suffering from awards fatigue? Our film critic has the antidote.