Culture Why I hate end-of-year lists We think of them as a glimpse into a person’s taste, but they’re more revealing of how that person wants to be seen. By Simran Hans
Film Ninja Thyberg: “Instead of trying to erase the bad porn, I was like, ‘We need to do good porn!’” By Simran Hans
The ghost of James Gandolfini in Enough Said Nicole Holofcener’s 2013 romantic comedy captures Gandolfini’s spirit and irrepressible charm. By Simran Hans
Why Bill Forsyth’s Housekeeping is a stranger, sadder film than it first appears Set in the 1950s, the movie is a lesson in the suffocating domesticity that women of that time faced. By Simran Hans
Why Two Lovers is more than just another entry in Joaquin Phoenix’s “isolated eccentric” canon It’s a tragedy that, at the time of its release, the film – quiet and old-fashioned in its ambitions… By Simran Hans
Why Tony Scott’s The Hunger is more than just a footnote in David Bowie’s acting career Bowie was 36 when he starred in Scott's 1983 erotic horror. Five years after his death, it feels strange… By Simran Hans
Love & Basketball is more than a chick flick Gina Prince-Bythewood’s 2000 debut film is clear-eyed and serious about female ambition and gender roles. By Simran Hans
Paul Mazursky’s 1978 romcom An Unmarried Woman captures the thrill of reinvention The joy is in watching the vulnerable Erica Benton (Jill Clayburgh) build herself back up. By Simran Hans
Revisiting Paul Schrader’s languorous, late-summer erotic thriller from the Nineties The floating city of Venice and its winding canals serve as the backdrop to a dark tale in The Comfort… By Simran Hans
How producer Polly Platt shaped Broadcast News Nominated for seven Oscars, the film is considered James L Brooks's masterpiece. But another force also moulded the movie. By Simran Hans