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
Please view our back issues page for more information about obtaining previous months issues, dating back to 1995.
Has DV's cheapness and accessibility ushered in a new golden age for short films? And where do you find the money to take your project further, asks James Bell.
Olivier Assayas' Demonlover was booed at cannes by critics who said it made no sense. Perhaps that's the idea argues Jonathan Romney.
The director talks to David Thompson about S&M, capitalism and why Don DeLillo matters.
Like Kiss of the Spider Woman, Hector Babenco's Carandiru is set in a Brazilian prison. But this time he plays it for real, he tells Ali Jaafar.
Scrambling memory and time have become key conceits for contemporary film-makers. Nick James asks what movies like the Charlie Kaufman-scripted Eternal Sunshine of the Spotless Mind tell us about our collective fear and desire for amnesia. Plus Director Michel Gondry talks to Sheila Johnston about Jim Carrey's most chaotic shoot.
Guy Maddiris The Saddest Music in the World is a return to form by one of Canada's most idiosyncratic directors. He tells Michael Brooke why Isabella Rossellini's glass legs and fake fur turned him on.
Changes to tax law introduced in February are said to spell disaster for British cinema. Geoffrey Macnab uncovers the truth behind the rhetoric and looks to the future.
Mike Hodges' I'll Sleep When I'm Dead has a hard man out to avenge his brother's death. Its similarity to Get Carter ends there, says Ryan Gilbey.