BFI | Sight & Sound | November 2007

November 2007

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Features

Robert Bresson: Alias Grace

Robert Bresson produced a poetic and uncompromising body of work that defined the limits of cinema as an artform. By Michael Brooke PLUS Olivier Assayas, Aki Kaurismäki, Paul Schrader, Bruno Dumont and Eugène Green describe his importance and tell why they would never have become film-makers without him

Venice 2007: War, Lust, Spies And Quaint Conceits

This year's Venice festival unveiled a clutch of powerful American films that escape Hollywood's formulas. Nick James appreciates Todd Haynes' Dylan biopic, a new Ang Lee, a brooding Western and two films that criticise the US presence in Iraq

Written On The Body

The 2007 Times BFI 51st London Film Festival opens with David Cronenberg's thriller Eastern Promises, about a Russian mob engaged in sex trafficking and prostitution in London's East End. The director talks to Edward Lawrenson about his return to the scene of the crime PLUS Sight & Sound recommends highlights including Juno, Cargo 200 and a restoration of Enamorada

Back To The Future: A Cinephile's Response

Is the era of wondrous cinema over, as was claimed in Sight & Sound last month? Jonathan Romney thinks not - and looks to Hollywood, Paris and our own DVD pages to prove it

Ken Loach: A Class Act

From Cathy Come Home to It's a Free World, Ken Loach has given a voice to the socially dispossessed. Here he talks to Richard T. Kelly about football, Yorkshire humour and the things he wishes he'd done differently

Stealers Of Sleep

Do Lemming, Hidden and the recent Hotel Harabati constitute a new brand of French cinema that watches bourgeois anxiety spiralling surreally out of control? By Michael Atkinson