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
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Geoffrey Macnab on George Clooney's tribute to speaking your mind
The Times bfi London Film Festival
Edward Lawrenson on a thriller that takes a knowing look at Hollywood
The Times bfi London Film Festival
He made his name as a criminal in Bonnie and Clyde and a cop in The French Connection, becoming the face of the edgy new 1960s and 1970s US cinema. Andrew Collins celebrates a hulk with a soft centre and an enduring wig
Does Jim Jarmusch's Broken Flowers signal an edging into the mainstream? Nick Roddick isn't sure - but in Bill Murray the director has found the grown-up counterpart to his laconic young drifters
He didn't like the script and he knew the Weinsteins meant trouble – so why did Terry Gilliam take on The Brothers Grimm? He tells Bob McCabe about the genesis of the historical romp that marks his return to the big screen.
How could Carlos Reygadas follow up Japón's stirring landscapes and inter-generational sex? With the opening of Battle in Heaven, which provided this year's critical succès de scandale. He tells Nick James about his hopes for something better
Venice 2005 had its share of Hollywood glitz and glamour - in support of a new wave of politically engaged film-making. Nick James regrets not having the chance to buy George Clooney and Ang Lee a celebratory cup of coffee
Adapted from James Toback's 1977 Fingers, Jacques Audiard's film suggests French cinema is falling in love again with Hollywood. By Philip Kemp