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For years Michael Shannon has been building a reputation as an intense, risk-taking actor on stage and in supporting roles. But his compelling turn as the dream-haunted everyman in Take Shelter proves he can carry a movie. Nick Pinkerton talks to him
Less interested in its heist than its characters’ psyches, Odds Against Tomorrow was a favourite of Jean-Pierre Melville – and Paul Tickell
A surprise winner of the top prize at the recent Venice Film Festival, Aleksandr Sokurov’s Faust has divided critics, leaving some groping for superlatives. Here Ian Christie places the film in the context of European high culture’s previous tellings of the tale – and of the Russian director’s other, varied works, now showing in a BFI retrospective
Adapted from Terence Rattigan’s 1952 play, The Deep Blue Sea represents a triumphant return to filmmaking for writer-director Terence Davies. He talks to Geoff Andrew
PLUS set report by Nick James
PLUS Rising star Tom Hiddleston tells Nick James what attracted him to working with Terence Davies
PLUS DP Florian Hoffmeister on the film’s distinctive look
Snowtown dramatises the real-life serial killings uncovered in the eponymous South Australian small town. But far from true-crime sensationalism, it’s a gruelling psychological study from first-time director Justin Kurzel. He talks to James Bell
Leaving the council-estate setting of her earlier films for the moors of Wuthering Heights, Andrea Arnold has put her own stamp on Emily Brontë’s classic, says Amy Raphael
PLUS David Jenkins surveys other screen versions
For years Michael Shannon has been building a reputation as an intense, risk-taking actor on stage and in supporting roles. But his compelling turn as the dream-haunted everyman in Take Shelter proves he can carry a movie. Nick Pinkerton talks to him
A surprise winner of the top prize at the recent Venice Film Festival, Aleksandr Sokurov’s Faust has divided critics, leaving some groping for superlatives. Ian Christie places the film in the context of European high culture’s previous tellings of the tale – and of the Russian director’s other, varied works, now showing in a BFI retrospective
Restored scenes omitted from the original 1979 cut have added a new dimension to Volker Schlöndorff’s adaptation of Günter Grass’s The Tin Drum – as have revelations about the novelist’s wartime past. Geoffrey Macnab reports
It was a one-off collision between George Gershwin’s music, Gene Kelly’s dancing, French art history, Red Shoes-inspired film ballet – and America’s enduring love affair with the French capital. David Thomson revisits An American in Paris
A love-triangle drama set in a tattered post-war England, Terence Davies’ adaptation of Terence Rattigan’s play may still not be Sophocles, but does play like a cinematic opera, says Jonathan Romney
Evoking his family’s life in their Pyrenean hideaway, This Our Still Life is a mesmerising blend of lyrical intensity and freewheeling impressions from unclassifiable British filmmaker Andrew Kötting. By Iain Sinclair
A one-night stand matures into a deeply romantic and revelatory weekend in Andrew Haigh’s wonderful second feature. Samuel Wigley is utterly convinced
Stripping away the literary, romantic and supernatural trappings of Emily Brontë’s famous novel, Andrea Arnold’s elemental new reading is powerful if lop-sided, says Kate Stables
Touch of Evil has been described as the last film noir. More like the first last film noir, reckons Brad Stevens