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
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British cinema held its head high at this year's Cannes, with remarkable debuts from Steve McQueen and Duane Hopkins, and a moving return from Terence Davies. By Nick James
To many he is the embodiment of British cinema. In this issue's two-part celebration of David Lean, Charles Drazin looks at how the director learned his trade in the editing room and Sonia Genaitay explains the processes used to restore some of his earliest films
Charles Burnett's 1977 debut film Killer of Sheep is a landmark of American independent cinema directed by one of black cinema's most visionary talents. As a BFI Southbank retrospective arrives, Burnett talks to James Bell
Much of Errol Morris' documentary output probes the nature of photographic 'truth' - a theme with profound political resonance in new film Standard Operating Procedure, about the infamous images of prisoner abuse at Abu Ghraib. The director talks to Howard Feinstein
If Cannes 2008 failed to match the brilliance of last year's festival it was still full of promising works-in-progress, shifts in direction for name auteurs and a handful of films of rare quality. By Nick James PLUS Rose Pastille's hot gossip
Kieron Corless celebrates the continuing tradition of radicalism of the Directors' Fortnight
Geoff Andrew finds himself moved by a selection of films designed to make the watcher weep
Jonathan Romney is shaken by the intense Johnny Mad Dog, a brutal and brilliant account of child soldiers in war-torn Africa
Abdellatif Kechiche's perfectly paced story of a North African family's struggle in coastal France is told with the wit and warmth of classical cinema, yet with a very modern take on identity. By Ginette Vincendeau
Jacques Demy's interpretation of the Pied Piper fairytale is deeper and darker than you might expect, says Tim Lucas