Editorial

Confessions

With Didi, Sean Wang is telling a new kind of coming-of-age story

By Luke Georgiades

Culture

Kneecap: Three Irishmen, an Englishman and a work of fine art

By Kitty Grady & Anna Pierce | Photography by Macy Stewart

Film

Are we living in the age of single parent cinema?

By Miriam Balanescu

Culture

A postcard from Bergman Island

By Katie Driscoll

Film

Hard-Boiled Rice: The Avant-Garde Noir of Seijun Suzuki

By Luke Georgiades

Art & Photography

Through the lens of obsession: On Nobuyoshi Araki, Enrique Metinides and Weegee

By Michael Hoppen

Film

Levan Akin: “Earnestness is something I miss in film”

Film

Notes from the unrequited: Isabel Sandoval on Wong Kar-wai

By Isabel Sandoval

Film

Absence as presence in the cinema of Marguerite Duras

A film lover's guide to

A romantic’s guide to summer love on screen

Confessions

Nick Ashley biking

Nick Ashley: In Motorised Meditation

By Luke Georgiades

Culture

artists for aid

Artists for Aid: Historical London concert calls for action in Gaza and Sudan

By Luke Georgiades

Confessions

Erica Tremblay’s Fancy Dance is a gift of Native American filmmaking

By Luke Georgiades

Editorial

A Rabbit’s Foot short film competition

By A Rabbit's Foot

Film

Modern dance: why we are living in the age of off-kilter choreography

By Alex Denney

Culture

The cinematic life of Harold Pinter

By Natasha A. Fraser

Confessions

With Bye Bye Tiberias, Lina Soualem is taking back her family’s legacy

By Dalia Al-Dujaili | Creative direction and photography by Fatima Khan

Culture

Sunchaser: Rick Rubin on his Festival of the Sun

By Chris Cotonou

Film

Agnieszka Holland: “We are changing Europe into some kind of fortress”

By Lillian Crawford

Confessions

Drugstore cowboy its

“We had Satan on speed-dial”: An Oral History of Drugstore Cowboy

By Luke Georgiades

N0.10 The Word – 2025

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