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
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In past S&S polls of the greatest films of all time, Jean Renoir’s La Grande Illusion has lost out to his later, allegedly more personal film La Règle du jeu. It’s time to reconsider, says Ginette Vincendeau
In the latest of our essays making the case for contenders in S&S’s poll to find the Greatest Film of All Time, Hannah McGill revisits Beau Travail, Claire Denis’s rapturous 1998 exploration of male identity in crisis
Like so many films by the great Yugoslavian director Aleksandar Petrovic, Group Portrait with Lady is off the radar. By Vlastimir Sudar
Since leaving his native Finland, director Aki Kaurismäki has broadened his canvas with Le Havre, but his deadpan vision remains the same. Michael Brooke talks to him, and surveys his career to date
Artist-filmmaker Ben Rivers’s feature debut Two Years at Sea is a mesmerising portrait of life on the margins. He talks to Andréa Picard
Fans of Whit Stillman have had a long wait for another taste of his acerbic dialogue and wry social portraiture. He talks to Nick Pinkerton about his first film in 14 years, Damsels in Distress
From Futurism to Dogme, filmmakers have felt the urge to pronounce new laws of their art. Nick James charts a brief history of the manifesto
In the first of two pieces on contenders for S&S’s upcoming Greatest Film of All Time poll, Hannah McGill revisits Beau Travail, Claire Denis’s rapturous 1998 exploration of male identity
Timo Vuorensola’s satirical sci-fi comedy Iron Sky takes Nazi scientific theory to its illogical conclusion. By Kim Newman
What is Winnipeg’s most famous director Guy Maddin up to in the basement of the Pompidou Centre? Jonathan Romney pays his respects to ‘The Seances Project’
Karl Markovics’ debut study of an institutionalised teenager finding release in mortuary work takes several leaves from the Dardennes’ neorealist playbook. Catherine Wheatley sees muted naturalism turn to the sublime
Drew Goddard and producer Joss Whedon’s marvellous meta-monster horror may be smarter (and funnier) than it is scary, says Kim Newman
The erstwhile laureate of satires of the American preppie heart, Whit Stillman breaks his 13-year silence with a decidedly tongue-in-cheek college comedy. Kate Stables wonders if its frivolity is for real
Girl meets boy, girl loses boy, girl meets older man… The new film by Mia Hansen-Løve confirms the promise of Father of My Children with a frank – and very French – look at the pangs of young love, says Philip Kemp
In Aki Kaurismäki’s deadpan fairytale of working-class solidarity, quirky flirts with cutesy and bathos with true poignancy. Hannah McGill sees the raw humanity shining through
The films of Mizoguchi Kenji combine detachment with intense emotional involvement, argues Brad Stevens