Primary navigation

Please view our back issues page for more information about obtaining previous months issues, dating back to 1995.
Forget the fan-boy in-jokes, Kill Bill Vol. 2 is actually a radical remapping of traditional family values with nods to the Oedipal myth, female-centred horror movies and the Old Testament. B. Ruby Rich is besotted.
In the first of a new series on actors, David Robinson gets beneath the beautiful skin of Rudolph Valentino and explains why he was among the greatest of screen icons.
Bad Education marks a further maturing of Pedro Almodovar's style with its spidery plot and elegant mise en scène. And this deeply felt autobiographical work has struck a chord with Spanish audiences. Paul Julian Smith is impressed.
Uzak is the final instalment in a trilogy of films by Turkish director Nuri Bilge Ceylan. Jonathan Romney applauds the intensely personal cinema of this new arthouse star.
When the Iranian authorities banned his latest film, Babak Payami fled the country with a copy. He talks to Sight & Sound about what cinema means to Iran's secret police. Plus Jafar Panahi tells Mark Irving about the A-C of censorship.
Kim Ki-Duk's Spring, Summer, Autumn, Winter... and Spring is a sumptuous meditation on rage and redemption. He talks to Leslie Felperin about the film's imagery.
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.
Shattered Glass shows how a journalist's deceptions shook the reputation of a US magazine. But how can we tell truth from lies, asks Edward Lawrenson.