Film

Film

Park Chan-wook’s No Other Choice expertly exposes the vampirism of corporate masculinity

By Luke Georgiades

Venice 2025

With A Wave In the Ocean, Jane Campion teaches filmmakers to dream differently

By Jannat Suleman

Confessions

Isabelle Huppert: Confessions of a Mask

By Kitty Grady

Confessions

With The Kidnapping of Arabella, Carolina Cavalli is overcoming nostalgia

Interview and Photography by Luke Georgiades

Venice 2025

Cover-Up review—Laura Poitras’ arresting portrait of investigative journalist Seymour Hersch

Venice 2025

Jacob Elordi, Netflix speed boats and the long queue for cappuccino: a Venice Diary–part 1

Events

A Rabbit’s Foot and Cartier celebrate the craft of cinema in Venice

By A Rabbit's Foot

A film lover's guide to

A film lover’s guide to Venice

By A Rabbit's Foot

Film

Notes from a weekend of horror

By Haaniyah Awale Angus

Film

Sorry, Baby, and the rise of the trauma-comedy

By Laura Zeng

Film

Islands on screen: Sicily in Michelangelo Antonioni’s L’Avventura (1960)

By Chris Cotonou

Film

Islands on screen: Capri in Jean-Luc Godard’s Le Mépris (1963)

By Chris Cotonou

Film

Islands on screen: Roberto Rossellini’s Stromboli (1950)

By Chris Cotonou

A film lover's guide to

A film lover’s guide to summer (in the city)

By A Rabbit's Foot

Film

Kings of Provence: On Pagnol and Fernandel

By Luke Georgiades

Film

What Plato can teach us about Ari Aster’s Eddington

By Maxime Toscan du Plantier

Venice 2025

10 gems to look out for at Venice Film Festival 2025

By A Rabbit's Foot

Film

Lady Lyndon: Stanley Kubrick’s most underrated heroine?

By Zoe Worth

Film

The Mud Diaries: notes from the set of Harvest

By Rafa Sales Ross

Film

Why Jean Cocteau’s Le Testament d’Orphée is the ultimate art film

By Chloë Cassens

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Featuring: Isabelle Huppert, John Malkovich, Harris Dickinson, Celine Song, Emily Young, Warren Ellis, Rachel Kushner, Fernando Meirelles, Justin Kurzel, Frank Dillane

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