The actor talks to Josh Slater-Williams about working with Lee Chang-dong, the film’s thought-provoking questions and her approach to playing a documentarian.

Instead of reprising one of his beloved action-movie characters, the actor does something in Digger he hasn’t tried in years: reveal his humanity. By Yasmin Omar

As creature feature Hope faces pushback in its native Korea for ‘excessive’ profanity, David Opie states the case for expletives in cinema, tracing the history of on-screen cursing from silent film to the present day.

Georgia Oakley’s Regency drama is the latest adaptation of a woman-penned classic novel that foregrounds the bonds between sisters over romance. All the best ones do, writes Nadira Begum.

With Olivia Colman marrying a straw man, Adam Driver encountering the Russian mafia and Keke Palmer stealing clothes from Demi Moore, there’s plenty of enticing cinema to sink your teeth into at the 70th edition of the BFI London Film Festival.

Where studios took troll campaigns seriously in the 2010s – making changes to films to appease keyboard warriors – they’ve recently taken a stand against them. Resident Evil is just the latest example. By Alistair Ryder

Look beyond the mixed receptions of the director’s recent films, and you’ll find an idiosyncratic, expectation-subverting body of work that refuses to bend the knee to fans’ demands, argues Alistair Ryder.

It’s been quite the summer for the actor. Previously boxed into forgettable girlfriend roles, she’s finally broken new ground with her standout performances in The Invite and I Want Your Sex, writes Yasmin Omar.

The writer-director of Teenage Sex and Death at Camp Miasma talks to David Opie about creating metatextual experiences, showing their range and following up a cult hit. 

Director Maite Alberdi discusses her genre-straddling docudrama, which explores a woman’s unorthodox attempt to become a mother. By Laura Venning

After the Spider-Man team-up rumours that dogged No Way Home, Marvel has been very tight-lipped about the web-slinger’s latest adventure Brand New Day. David Opie welcomes the secrecy, and argues that cryptic trailers and character obfuscation only build intrigue.

As the director follows up his Oscar-winning Oppenheimer with The Odyssey, Matt Maytum considers how the filmmaker achieved his status as a singular visionary who shoots on celluloid, favours practical effects and makes event movies out of the unlikeliest of subjects.

Olivia Wilde returns to form with a stripped-back, adroitly performed character piece that feels like a Seventies movie, writes Yasmin Omar.

The filmmaker speaks to Josh Slater-Williams about working with Jodie Foster, casting actor-directors and her relationship with analogue technology.

Braving subzero temperatures, cinematographer Amine Berrada captures the savage beauty of a Norwegian winter for this affecting family drama.

Clark Kent may be an A-list hero, but his cousin Supergirl is the more compelling character. Over nearly seven decades, she’s been a shapeshifting goo, had magic firepowers, dated her superpowered horse and wrestled with real trauma, writes David Opie.

From Ron’s Gone Wrong’s data-mining CEO to Toy Story 5’s attention-sucking AI tablet, there’s been a surprising surge of anti-billionaire techno-pessimism in recent family films. Alistair Ryder investigates the trend.

From Close Encounters to E.T. and now Disclosure Day, Steven Spielberg has consistently used aliens – and characters’ reactions to them – to comment on America’s evolving sociopolitical anxieties about immigration, government overreach, terrorism and more. By Nadira Begum

Disentangling 4chan images, YouTube films, video games and ‘creepypasta’, Kambole Campbell explains the very online backstory of Backrooms.

From Oscar-winning performances to cult favourites and romantic classics, explore the best Anne Hathaway films. By Nadira Begum

As the original Mission: Impossible celebrates its 30th anniversary, Nadira Begum argues that the film serves as a blueprint for the action franchise as a whole, particularly with regard to Tom Cruise’s character. Since 1996, he’s been a self-assured but sensitive spy whose deadliest weapon is his charisma. 

Our King’s Road venue is a multipurpose all-day destination where guests can experience, and create, art and culture. 

Ahead of The Mandalorian and Grogu, Matt Maytum offers some tips on the best ways to construct an entertaining, franchise-supporting Star Wars movie.

From Jordan Peele to Zach Cregger and Ari Aster, a growing number of sketch comedians are pivoting to horror. As Curry Barker follows suit with Obsession, Alistair Ryder explores the trend.

Director Carla Simón discusses dreams, memories and the importance of looking back with Sophia Satchell-Baeza.

Forget the boyfriend, Miranda Priestly’s art director Nigel is an incorrigible workplace bully who body-shames and belittles Anne Hathaway’s fashion-magazine ingénue, writes Yasmin Omar.

From Mother Mary to Trap and Lurker, a number of recent horror-thrillers have commented on the dark side of fame and fan culture through their troubled-musician characters, says Billie Walker.

As we’ve seen with The Drama, romantic comedies that strike a chord today directly engage with pressing issues, from capitalism to sexual harassment. Charlotte Golzari investigates this spiky new subgenre.

From Oscar winners to cult classics, explore our curated list of essential LGBTQ+ films everyone should see. By Laura Venning

The California Schemin’ rising star discusses working with James McAvoy, choosing varied projects and the role of women in male-fronted biopics. By Josh Slater-Williams

Zendaya and Robert Pattinson navigate wedding-week woes in Kristoffer Borgli’s pointed, provocative rug-pull of a film, writes Yasmin Omar in this spoiler-free review. 

Piloting this star vehicle with practised finesse, the actor transforms his lovable-idiot astronaut into a selfless empath in Lord and Miller’s initially silly, ultimately poignant space movie. By Yasmin Omar

Paolo Sorrentino’s new drama, his seventh with actor Tony Servillo, presents a refreshingly atypical portrait of an Italian president, for whom power is more of an enervation than an aphrodisiac, writes Ian Haydn Smith.

Hlynur Pálmason talks about working with his own family to bring this poetic, lightly surrealist drama to life while employing his visual-art sensibilities to explore the highs and lows of family life.

For nearly a century, male filmmakers have misrepresented Mary Shelley’s female creature, stripping away her voice, complexity and bodily autonomy. Here, Nadira Begum outlines the patriarchal overtones of these interpretations, and looks ahead to Maggie Gyllenhaal’s reinvention of the character in The Bride!

David Opie delves into the animation studio’s strange phenomenon of localisation, whereby cultural signifiers – from Inside Out’s Japanese vegetables to Coco’s Portuguese title – are altered to better serve international audiences.

The heart-wrenching sequence – which offers more guttural authenticity than Hollywood’s typically squeamish depictions of childbirth – is the emotional crux of the entire film, argues Sophie Monks Kaufman.

A knife-edge existential drama, Cannes winner Sirât is one of the awards season’s most strikingly original films. The filmmaker behind it talks spirituality, ceremonial dancing and the choreography of images with Ian Haydn Smith.

With Oscar-nominated The Secret Agent staging key scenes in a Brazilian cinema, Josh Slater-Williams examines how period films have long used movie palaces to comment on the cultural and political climate of the era they’re depicting.

There may be panic attacks and anxiety spirals in this high-intensity drama, but the brilliance of Rose Byrne’s Oscar-nominated performance is rooted in her facility with comedy, writes David Opie.

As a number of international directors interrogate oppressive regimes of the past – to shed light on those of the present – in their politically charged films, Guy Lodge explores contemporary cinema’s vehement opposition to authoritarianism.

As her craft is set to be rewarded at the Academy Awards for the very first time, Oscar-nominated casting director Cassandra Kulukundis talks through her eight-year journey to find breakout star Chase Infiniti. By Yasmin Omar

The British-Nigerian filmmaker speaks to Josh Slater-Williams about performing masculinity, shooting in Lagos and compiling playlists for his heads of department.

As another white actor takes on the canonically brown role of Heathcliff, Nadira Begum investigates the worrying trend of directors refusing to engage with the racial politics of Gothic novels when bringing them to the big screen.

As another white actor takes on the canonically brown role of Heathcliff, Nadira Begum investigates the worrying trend of directors refusing to engage with the racial politics of Gothic novels when bringing them to the big screen.

The Nouvelle Vague director discusses his early training as an actor, the rise of personal cinema and his experiences inside the Nineties’ indie-film explosion.