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Jewels In The CrownThe Venice festival combined Hollywood blockbusters with more innovative indie film-making from Europe and the US. But it was a series of films from Asia and Africa commissioned in Vienna that was its strongest suit. By James Bell
The Times BFI 50th London Film Festival: Mean StreetsAndrea Arnold's Red Road is a sexual revenge thriller with a twist in the tale. By Hannah McGill
The Times BFI 50th London Film Festival: The World Bank Put On TrialAbderrahmane Sissako's Bamako reinvents the political fiction film, says Nick James
The Times BFI 50th London Film Festival: Sight & Sound SelectionSight & Sound selects 12 of the best
The Times BFI 50th London Film Festival: Mysteries Of PubertyTimes and Winds by Turkish director Reha Erdem is one of the discoveries of the year, an exquisite affirmation of film as art. By Hannah McGill
To mark the release of The Departed, which translates the police and mobster moles of Infernal Affairs to Irish-American Boston, the director talks to Ian Christie about his twin obsessions with the underworld and the Catholic church, and his hope of continuing his exploration of faith and temptation in an adaptation of Japanese novel Silence
Alan Bennett's The History Boys, filmed by its stage director Nicholas Hytner, seems a return to his familiar territory of deferred desires and class-bound aspirations in a northern provincial town. David Jays uncovers the undertones of hidden violence and anger that also haunt the writer's work
Do the dark worlds of The Black Dahlia and Hollywoodland signal a neo-noir revival, asks Graham Fuller
Marie Antoinette depicts the doomed queen as a young woman lost in an adult world who redeems her identity through culture and fashion. It's a position director Sofia Coppola knows well, says Pam Cook
DVD review: 49 UpTim Lucas assesses the enduring fascination of a classic piece of documentary television
Film of the Month: Brothers of the HeadNodding to Cronenberg and Tod Browning, this adaptation of a Brian Aldiss novel about a pair of conjoined-twin punk rockers promises much but just doesn't deliver enough filth or fury. By Mark Sinker
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The Great Ecstasy of Robert Carmichael