Journal
View allTHE LOVING CLOSE-UP: DISCO BOY THROUGH THE LENS OF HÉLÈNE LOUVART
ARTICLE
Savina Petkova considers how the celebrated cinematographer's tactile style owes a lot to its tight framing of her subjects.
READ NOW →HOW THE OSCAR-NOMINATED THE TEACHERS’ LOUNGE IS A MICROCOSM OF SOCIETY
INTERVIEW
This single-location thriller shows how a simple accusation can precipitate life-changing consequences. Here, the writers unpack their process.
READ NOW →SYDNEY SWEENEY’S PRIMAL SCREAM
ARTICLE
Long regarded as an excellent shouter, the actress reaches her full-volume potential as a final girl in the religious horror flick Immaculate, says Yasmin Omar.
BOOK NOWDRIVE-AWAY DOLLS & THE QUEST FOR THE FEMALE ORGASM
ARTICLE
Ethan Coen and Tricia Cooke’s bawdy sex comedy borrows from high-school farces, with one crucial difference: it puts queer female sexuality front and centre. By Billie Walker
READ NOW →FROM DREAMS TO REALITY: BRINGING ROBOT DREAMS TO LIFE
INTERVIEW
Filmmaker Pablo Berger founded a studio for his first foray into animation, a beautiful, dialogue-free drama about the power of friendship. Here, along with animation director Benoît Feroumont, he tells Michael Leader about their creative process.
READ NOW →HANS ZIMMER: ‘I HAD TO CHANGE STYLE BECAUSE EVERYONE ELSE WAS DOING MINE’
INTERVIEW
The legendary Oscar-winning composer discusses his transcendent Dune: Part Two score and reflects on his expansive, four-decade career, from the dark musical subtext of The Lion King to the thrumming crescendos of Inception. By Amon Warmann
READ NOW →AVA DUVERNAY’S FIGHT FOR CHANGE
WOMEN IN THE SPOTLIGHT
Ava DuVernay’s Origin is a continuation of her typically resonant, politically engaged cinema, since it’s a Black story that encourages change both on and off screen. Here, Victoria Luxford explores the filmmaker’s groundbreaking work.
READ NOW →MARK RONSON & ANDREW WYATT ON THEIR OSCAR-NOMINATED HIT ‘I’M JUST KEN’
AWARDS BUZZ
Songwriters Mark Ronson and Andrew Wyatt talk Ellen Peirson-Hagger through their creative process on writing the much memed, self-deprecating, Oscar-nominated power ballad ‘I’m Just Ken’.
Read Now →SANDWORMS, SPACESHIPS AND SPECIAL EFFECTS: HOW VFX SUPERVISOR PAUL LAMBERT BROUGHT DUNE TO LIFE
AWARDS BUZZ
Leila Latif speaks to the Oscar-winning visual effects supervisor about his work on Denis Villeneuve's sci-fi epic.
READ NOW →PERFECT DAYS & THE EQUALISING POWER OF THE TOKYO TOILET
ARTICLE
Lillian Crawford considers how Wim Wenders’ gentle, Oscar-nominated drama extols the power of architecture, and continues his fascination with capturing artwork on film.
READ NOW →CURZON CINEMA
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