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Confessions
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
Confessions
London Film Festival ’23: Andrew Haigh on All of Us Strangers
By
Luke Georgiades
Art & Photography
Where to start with Frieze London
By Rachael Barrett
Film
The sixth sense of Ingmar Bergman
By
Natasha A. Fraser
Art & Photography
The magnificent world of Rose Wylie
By Lucy Davis
Photography by Fatima Khan | Creative Assistant Anna Pierce
Confessions
Shinya Tsukamoto on body horror’s new prestige era
By Josh Slater-Williams
Culture
Why are we obsessed with watching shows about work?
By Haaniyah Angus
Confessions
Bruce Robinson: “You want to go up to 70 mph. That’s where the madness happens”
By
Chris Cotonou
Film
The Substance and the critical self
By Laura Grace Simpkins
Editorial
Issue 9: The Senses—is here!
By
Charles Finch
Film
Why Brigitte Bardot stands the test of time
By
Natasha A. Fraser
Confessions
From Russia with Love: Sean Baker and Mikey Madison on Anora
By
Luke Georgiades
Confessions
Coralie Fargeat: “I give birth through my art”
By
Kitty Grady
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