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4 days ago | 
bfi.org.uk | Katie McCabeInterviews |Katie McCabe |Rachel Pronger |Isabel Stevens
The Australian stop-motion animator discusses his latest film, a ‘clayography’ of a snail-loving hoarder whose difficult life has caused her to retreat into her shell. 30 May 2025Sadness is Adam Elliot’s happy place. In his stop-motion animated films, his oddball characters face all manner of misfortunes – a life-threatening lightning strike and testicular cancer for Harvey Krumpet (2003), bully-inflicted hearing loss for Ernie Biscuit (2015), despairing loneliness for Mary and Max (2009).
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4 days ago | 
bfi.org.uk | Rachel Pronger |Isabel Stevens |Sam Wigley |Josh Slater-Williams
How do you plan a retrospective around a filmmaker with a limited body of work? This question lies at the heart of Wanda and Beyond: The World of Barbara Loden, a new season screening at BFI Southbank this June. Many fans of feminist and US independent cinema will have heard of Wanda, a low budget 1970 US indie road movie, and the sole directorial feature of actor turned filmmaker Barbara Loden.
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2 weeks ago | 
bfi.org.uk | Isabel Stevens |Sam Wigley |Josh Slater-Williams |Leigh Singer
More than just one of the world’s most bankable stars, Tom Cruise is an impresario and a powerful advocate for the big-screen theatrical experience. On the occasion of the BFI awarding him a Fellowship, he talks about his lifelong devotion to cinema and his unforgettable work with Martin Scorsese, Stanley Kubrick and Paul Thomas Anderson. Updated: 23 May 2025It took just a pink shirt, white socks and a slide.
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Aug 22, 2024 | 
source.ie | Isabel Stevens
Issue 68 Autumn 2011View Contents ▸View Photographs by Jane and Louise Wilson ▸Isabel Stevens: When did you first begin working seriously with photography? Louise: We were about nineteen when we got a Mamiya C330 twin lens reflex during our undergrad. But we studied in the days when people got upset when you described your photographs as fine art.
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Aug 22, 2024 | 
source.ie | Isabel Stevens
Issue 67 Summer 2011View Contents ▸"Nobody should touch a Polaroid until he’s over sixty" was Walker Evans’s maxim. It was only at that age, when Evans’s fingers started to fail him that he turned to the small and instantaneous image to revisit the street signs and scenes he had shot early in his career.
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Jun 24, 2024 | 
bfi.org.uk | Brogan Morris |Jessica Kiang |Mike Kohler |Isabel Stevens
Sidney Lumet left an immense body of work behind him when he died in 2011. In the 50-year stretch from his first feature to his last, he racked up a total of 44 films (which is to say nothing of the dozens of hours of television he also directed, at the beginning and end of his career). To anyone approaching the Lumet catalogue fresh, such volume alone would be intimidating. Equally imposing, though, is the director’s reputation as an American master.
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Jun 20, 2024 | 
bfi.org.uk | Jessica Kiang Talkies |Jessica Kiang |Mike Kohler |Isabel Stevens
“Some of us who live in arid parts of the world think about water with a reverence others might find excessive,” wrote Joan Didion in 1977, toward the end of what had been the driest recorded three-year period in California history. But anyone who’s seen Roman Polanski’s masterpiece Chinatown, released on midsummer eve in 1974, the year that dry spell began, must have reverence for California’s water struggles.
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Jun 20, 2024 | 
bfi.org.uk | Mike Kohler |Isabel Stevens |Hayley Scanlon |Jonathan Romney
Sound is 50 percent of the movie going experience, and I've always believed audiences are moved and excited by what they hear in my movies at least as much as by what they see.”George LucasA typical dictionary offers many definitions of acoustic ‘sound’ – covering energy transfer, neurological perception, media content, collectively, such as ‘the sound of The Beatles,’ and environmentally, as in ‘within the sound of the church bells’. Sound invites cross-sensory and emotional response.
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Jun 20, 2024 | 
bfi.org.uk | Isabel Stevens |Mike Kohler |Hayley Scanlon |Jonathan Romney
Agnieszka Holland was a precocious 15-year-old when she decided to become a filmmaker. She has notebooks from those years in which she wrote that three things were important to her: visual expression (she originally wanted to be a painter), telling stories, and – the really precocious bit – power, although she didn’t want to be a politician to get it. “It was the mid-60s, when cinema was very artistic, original and personal,” she tells me.
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May 13, 2024 | 
apollo-magazine.com | Isabel Stevens
Many women artists have been reappraised in the last decade and exhibitions and books have sought to remove some from the shadow of the men with whom they were involved with romantically (Lee Krasner; Dora Maar). But what are we to make of a woman who was desperate to disappear? A figure who further complicates the feminist endeavour of rescuing overlooked artists because she was in a relationship with another woman who took the spotlight?
