BFI | Sight & Sound

July 2010

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Features

Kurosawa on Kurosawa

The director whom Steven Spielberg once described as “the pictorial Shakespeare of our time” was famously reluctant to discuss his films, but he opened up to Donald Richie in an interview first published in Sight & Sound in 1964, extracts of which we reprint here

Lost and forgotten: British cinema of the 70s

In British film as in pop music, the late 1960s and 1970s marked a watershed of shifting cultures and identities, as Mark Sinker discovers in a selection of the era’s ‘forgotten’ films

Lost and found: Angelo My Love

In the first of a new regular column about overlooked gems, David Jenkins makes the case for Robert Duvall’s Angelo My Love

Kurosawa: The Last Emperor

Extracts from an interview with Kurosawa conducted by Tony Rayns in Tokyo in 1981, at the time of the release of Kagemusha

Disputed territories

What do two striking late 1940s films – Drunken Angel and Stray Dog – tell us about Kurosawa’s attitude to the post-war Allied Occupation of Japan? asks Alexander Jacoby

Misadventures in Hollywood

Kurosawa’s attempt to broaden his horizons in the 1960s led to a tale of drama and betrayal worthy of his own films. By Stuart Galbraith IV

The misfit

For the West, he was the archetypal Japanese director. But at home Kurosawa was something of an anomaly, argues Tony Rayns

Cannes 2010

With Apichatpong Weerasethakul’s Uncle Boonmee setting an otherworldy tone, this year’s festival saw some big names back on top from – while others lost the plot. By Nick James

PLUS Lee Marshall on new talent in the Directors’ Fortnight

PLUS Geoff Andrew on the pick of the festival’s documentaries

PLUS Jonathan Romney on My Joy, Ukraine’s answer to Deliverance

Back to basics

At 71, Francis Ford Coppola has turned his back on big-budget epics to concentrate on intimate dramas like Tetro that he can fund himself. But one thing remains the same, says Nick Roddick: it’s all about family

The enigma of Alain Resnais

The veteran French auteur has just turned 88, but nearly half a century after Last Year at Marienbad, he’s back with Wild Grass, his most playfully audacious film in years. He talks to Jonathan Romney