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In Sideways Alexander Payne follows two emotionally retarded middle-aged men around the Californian vineyards. But how does he make us like them, asks Mark Salisbury.
Sex scenes are a matter of letting the actors do what they do best, says James Toback. He talks to Peter Biskind about the making of When Will I Be Loved.
Is it talent or looks that have made Audrey Tautou France's biggest female star? Or is her innocence a welcome antidote to a deluge of media sex? Ginette Vincendeau watches A Very Long Engagement.
Catholic female adolescence is a time of nascent sexuality and spiritual desire, says Lucrecia Martel of her new film The Holy Girl. She talks to Nick James about doctors, saints, hotels and her sense of self.
In Trilogy The Weeping Meadow Theo Angelopoulos revists the themes that have informed his long career. He tells Sight & Sound about the significance of umbrellas.
Max von Sydow was a lean and craggy presence as Bergman's alter ego and a string of Hollywood outsiders. And he's still available, says Geoffrey Macnab.
The Woodsman, Nicole Kassell's study of a convicted paedophile, lets us empathise without special pleading or sensationalism. By Philip Kemp.
Ryan Gilbey reviews Lukas Moodysson's latest release, a tale of amateur pornography and disjointed families.
Jamie Foxx turns in a carefully observed performance in this biopic on the life of Ray Charles.