In his Cave Allegory (Republic, c.360 BCE), Plato presents a strikingly visual account of the distinction between knowledge and belief and, in doing so, provides us with what may be considered the...

Paul Thomas Anderson’s films are war films. The war in question is one war, the war of narrative. From Hard Eight through to his latest film Phantom Thread, the director introduces us to a...

Ahead of the release of his visionary new feature Rey, director Niles Atallah talks us through his process, inspirations and unique treatment of film stock. Can you talk about the approach that...

A key sequence in German-based Chinese artist/activist Ai Weiwei’s globe-trotting refugee documentary Human Flow does something truly fascinating with the drone technology that has infected cinema...

In the moderately unlikely event that you find yourself about to be shipwrecked on a desert island and forced to choose a single year of British cinema to take with you as the sole entertainment for...

The Killing of a Sacred Deer mines similarly queasy dystopian material to Yorgos Lanthimos’ first English language film The Lobster, but this time goes for full-blown horror as the overriding tone,...

Almost sixty years since it was first presented in cinemas Alfred Hitchcock’s Psycho still exerts a considerable influence over representations of screen violence. This is the central thesis of an...

When I tell people I’m a festival director they think it sounds glamorous. When I tell them I’m a horror festival director, they often change their mind. I understand: horror can be a very...

How rare it is to find a film that touches you quite like Call Me By Your Name does. A queer drama from Luca Guadagnino (A Bigger Splash) that’s made all the more remarkable thanks to its universal...

Is Charlie Kaufman a philosopher? Many believe so. His films are increasingly screened in classrooms and lecture halls (as well as cinemas) and in 2011 philosophers contributed essays to an edited...