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You'd think with God on your scriptwriting team, you couldn't go wrong. Yet Simon Louvish has mixed feelings about DreamWorks' brand-new animated biblical epic The Prince of Egypt
IMAX shows you natural wonders on a bigger scale than ever before, yet something less visible makes the 1996 ascent of Everest IMAX's greatest hit. By Mark Sinker
Iran's women film-makers are finding their own vision. Amirah Makhmalbaf and Rahkshan Bani-Etemad talk to Sheila Johnston and Hadani Ditmars, respectively, about their recent festival successes
Upfront European films - including Lars Von Trier's The Idiots, François Ozon's Sitcom and Gaspar Noé's Seul Contre Tous - are testing the censors with incest, real sex and graphic violence. But do we really care, asks Richard Falcon
Pleasantville is a funny, sexy and vivid critique of 50s family values. How can its defence of post-60s liberalism avoid the flavour of Capracorn, wonders J. Hoberman
British documentary and fiction feed each other but lately, as Hilary and Jackie shows, it's the docs that are producing new directors of flair. Stella Bruzzi looks at how the two styles inform one another
Brash as a Shirley Bassey ball gown, the new British musical Little Voice hits soaring highs at times but has its share of off-key moments, writes Andy Medhurst