Editorial

Culture

Why I started writing poetry

By Allegra Handelsman, photography by Fatima Khan and styled by Flossie Strickland

Film

The creaturely universe of Andrea Arnold

By Hannah Parlett

Review

The Seed of the Sacred Fig review—a timely thriller on the oppressive nature of theocracy

By Avanish Chandrasekaran

Review

2073 review—Chris Marker’s La Jetée updated for a society of surveillance

By Avanish Chandrasekaran

Confessions

“She goes into her belly. She goes into her flesh” : Noémie Merlant on becoming Emmanuelle

By Kitty Grady | Photography Fatima Khan

Culture

Writing distance: James Baldwin in Istanbul

By Ramzi De Coster

Confessions

“Let’s see what is erotic” : Audrey Diwan on creating Emmanuelle

By Kitty Grady | Photography by Fatima Khan

Film

The Tampopo guide to eating ramen

By Luke Georgiades

Style

Bad Taste? Style in The Cook, the Thief, his Wife & her Lover

By Finlay Renwick

Film

Life as art: Kim Min-hee in the films of Hong Sang-soo

By Cici Peng

Culture

With A Nice Indian Boy, Roshan Sethi and Karan Soni are reinventing the rom-com in their own image

By Luke Georgiades

Culture

The gospel according to Francis Mallmann

By FRANCIS MALLMANN | AS TOLD TO CHRIS COTONOU

Review

Conclave review—papal thriller elects Edward Berger as one of our greatest directors

By Chris Cotonou

Review

Hard Truths review—Mike Leigh’s return to London is a masterclass in grief

By Rafa Sales Ross

Confessions

Ali Abbasi on The Apprentice: “This isn’t a Trump movie, it’s a transformation movie”

By Luke Georgiades

Film

London Film Festival ’24: Ten unmissable gems

By Luke Georgiades

Culture

Kathryn Hunter & Josh Azouz: “The body is always telling a story”

By Genevieve Gaunt

Art & Photography

Materials and migration: a look into the world of artist Su Yu-Xin

By Lucca Hue-Williams

N0.10 The Word – 2025

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Editorial

Why I started writing poetry

The creaturely universe of Andrea Arnold

The Seed of the Sacred Fig review—a timely thriller on the oppressive nature of theocracy

2073 review—Chris Marker’s La Jetée updated for a society of surveillance

“She goes into her belly. She goes into her flesh” : Noémie Merlant on becoming Emmanuelle

Writing distance: James Baldwin in Istanbul

“Let’s see what is erotic” : Audrey Diwan on creating Emmanuelle

The Tampopo guide to eating ramen

Bad Taste? Style in The Cook, the Thief, his Wife & her Lover

Life as art: Kim Min-hee in the films of Hong Sang-soo

Politics and the art of touch

The many seasons of the witch

With A Nice Indian Boy, Roshan Sethi and Karan Soni are reinventing the rom-com in their own image

The gospel according to Francis Mallmann

Conclave review—papal thriller elects Edward Berger as one of our greatest directors

Hard Truths review—Mike Leigh’s return to London is a masterclass in grief

Ali Abbasi on The Apprentice: “This isn’t a Trump movie, it’s a transformation movie”

London Film Festival ’24: Ten unmissable gems

Kathryn Hunter & Josh Azouz: “The body is always telling a story”

Materials and migration: a look into the world of artist Su Yu-Xin

N0.10 The Word – 2025