Michael Haneke's "Amour" and the music of time
By Ryan Gilbey - 15 November 9:56

A thought-provoking portrayal of the realities of nursing a partner in deteriorating health.

Haifaa Al Mansour
The image-less kingdom
By Celluloid Liberation Front - 13 November 17:16

Film is helping to demystify Saudi Arabia.

Michael Peña
Gilbey on Film: An interview with Michael Peña
By Ryan Gilbey - 09 November 10:31

The American actor is finally a leading man.

Early morning sunlight filters through fog, smoke and the branches of a tree
Sunlight, camera, action
By Alice Oswald - 08 November 8:48

Photography is like drawing with light.

George Lucas
Gilbey on Film: Disney saves Star Wars from its creator
By Ryan Gilbey - 02 November 10:47

George Lucas was always the franchise's worst enemy.

A much-hyped movie will only deliver over time
By Ryan Gilbey - 01 November 7:57

Ryan Gilbey on "The Master" and "The Shining".

Daniel Craig as James Bond in Skyfall.
Skyfall - review
By Ryan Gilbey - 25 October 12:10

Daniel Craig has relaxed into Bond without losing any steeliness.

I wanted to hate Eton Style, but I didn't
By Martha Gill - 18 October 16:39

Now I hate myself.

New Statesman
See no evil
By Zhu Rikun - 18 October 7:18

Zhu Rikun, a leading light of independent Chinese film, on its troubled future.

Nick Broomfield poses for a film festival photoshoot.
Nick Broomfield: “She very much reminded me of Margaret Thatcher”
By Philip Maughan - 16 October 12:42

The documentary maker on Sarah Palin, Mitt Romney and sex in Bedford.

On the Road
On the Road - review
By Ryan Gilbey - 11 October 8:46

A fine reworking of a cult novel unmasks the original.

Why Dredd 3D gets women in comics right
By Laura Sneddon - 04 October 17:50

For a popcorn blockbuster, the gender politics of Dredd 3D are extraordinary, writes Laura Sneddon.

New Statesman
Taken 2 - review
By Ryan Gilbey - 04 October 10:43

An amusing thriller sequel that uses the oldest tricks in the book.

Holy Motors - review
By Ryan Gilbey - 27 September 8:15

Leos Carax’s comeback film is wild and wonderful.

Handsworth
Handsworth, 1985: Re-writing the riots
By Celluloid Liberation Front - 24 September 17:39

The Black Audio Film Collective's film still resonates.

Cairo
Reimagining Arab cinema
By Ella Funge - 21 September 12:18

Omar Kholeif interviewed.

Fred Schepisi
Gilbey on Film: In praise of Fred Schepisi (again)
By Ryan Gilbey - 21 September 10:36

The Australian director's latest film has a dream cast.

Savages – review
By Ryan Gilbey - 20 September 7:04

Ryan Gilbey is stunned by the lack of subtlety in a message-heavy drugs tale.

New trailer for The Hobbit: An Unexpected Journey
By New Statesman - 19 September 18:37

What's in store? A headbutting dwarf, Martin Freeman and a waterfall, and plenty of Gandalf.

Keira Knightley
Gilbey on Film: Drama queens
By Ryan Gilbey - 14 September 15:04

A theatrical setting undermines Joe Wright's Anna Karenina.

Alessandro Tiberi as Antonio and Penelope Cruz as Anna
To Rome With Love - review
By Ryan Gilbey - 13 September 11:13

Ryan Gilbey dissects the decline and tentative rise of Woody Allen.

The Queen of Versailles - review
By Ryan Gilbey - 05 September 13:21

An unexpectedly sympathetic portrayal of the wife of a timeshare mogul.

Dominique Strauss-Kahn speaks to reporters
The very existence of "Dominique Strauss-Kahn: The Movie" reveals a darker side to Hollywood
By Samira Shackle - 31 August 16:51

Will his alleged victim, Nafissatou Diallo, get to tell her side of the story?

The Myth of the American Sleepover - review
By Ryan Gilbey - 30 August 9:10

This debut film shows us teenagers as they really are.

Shadow Dancer – review
By Ryan Gilbey - 23 August 11:16

Glances say more than words in this IRA thriller, writes Ryan Gilbey.

Gilbey on Film: Tony Scott, 1944-2012
By Ryan Gilbey - 21 August 9:59

A master manipulator of space and suspense.

Gilbey on Film: Playing God
By Ryan Gilbey - 17 August 9:30

Divine presences in the movies.

Take This Waltz - review
By Ryan Gilbey - 15 August 14:24

Scenes from a marriage: Michelle Williams saves this film from tweeness, writes Ryan Gilbey.

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