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
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Barry Salt charts the technical and artistic developments in lighting that have transformed the look of cinema over the past century
Il Divo's portrait of former Italian prime minister Giulio Andreotti sees Paolo Sorrentino going against expectations to magnificent effect, finds Guido Bonsaver.
Poland's Camerimage festival gave Sight & Sound the chance to canvass international cinematographers about the state of their craft. Interviews by Roger Clarke and Edward Lawrenson
Cinematographer Dante Spinotti turned to digital cameras to penetrate the darkness of his fifth collaboration with director Michael Mann, the gangster epic Public Enemies. He talks to Roger Clarke
Women go off the rails in the Berlinale's taboo-busting films this year, as Nick James discovers. PLUS Jonathan Romney picks his best and worst of the festival and Tony Rayns highlights a few peaks.
As Disney looks to the future, Andrew Osmond looks back at the soon-to-be-reissued Pinocchio with its lead voiceover artist Dickie Jones to see what made it such a memorable and groundbreaking animation.
Otto Preminger was frequently seen as an auteur striving for objectivity. A more detailed look at his early output suggests a more subtle truth, argues Richard Combs.
Two new Buñuel releases shed light on the maestro's Mexican sojourn. Tim Lucas on surrealism's sly old devil.
An engrossing and poetic debut from Thai director Aditya Assarat, Wonderful Town coolly sets the progress of a doomed love affair against the backdrop of a community devastated by the 2004 tsunami. By Tony Rayns