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Emerald Fennell on Saltburn: “The more pathetic a character is, the closer they are to me”

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Paul Sng: “It’s always good to have a mystery that you don’t solve”

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Alan Scott: Writing Don’t Look Now

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The Divine Transcendence of Alice Coltrane

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Venice ’23: ‘Priscilla’ Review

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Venice ’23: ‘The Killer’ Review

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N0.10 The Word – 2025

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Film

A Love Letter to To Live and Die in L.A.

A Love Letter to William Friedkin’s Sorcerer

A Love Letter to The French Connection

Emerald Fennell on Saltburn: “The more pathetic a character is, the closer they are to me”

Paul Sng: “It’s always good to have a mystery that you don’t solve”

Catherine Hardwicke: “I made Twilight to help people love the planet”

BIFA ’23 nominations highlight a great year for British Indies

Kim Jee-woon: “In order to do film well…there’s this ordinary life that I’ve been avoiding.”

Miu Miu x Woman’s Tales: Stane, by Antoneta Alamat Kusijanovic

Alan Scott: Writing Don’t Look Now

Werner Herzog’s Fitcarraldo and the journey into darkness

The Divine Transcendence of Alice Coltrane

Venice ’23: ‘Priscilla’ Review

Venice ’23: ‘The Killer’ Review

Venice ’23: Maestro Review

Venice ’23: Charles Finch, on Maestro

Venice ’23: ‘Poor Things’ Review

Venice ’23: ‘The Wonderful Story of Henry Sugar’ Review

Venice ’23: ‘Ferrari’ Review

Venice ’23: Reviews, News and Updates

N0.10 The Word – 2025