Editorial

The acclaimed artist, who shot an exclusive cover for this issue, sits down with Creative Director of A Rabbit’s Foot, Fatima Khan, to discuss obsession and transformation, her love for film noir, and Sonder: a short film she directed and starred in exclusively for A Rabbit’s Foot. These are the vices of Nadia Lee Cohen—laid bare for us all to see and to read.

Amber Guinness visits Salina, location of 1994 film Il Postino, exploring the Aeolian island’s food culture, and in particular its close relationship and reliance on the humble caper.

Viggo Mortensen discusses his second feature, The Dead Don’t Hurt, his new collaboration with Argentine filmmaker Lisandro Alonso, Eureka, and his publishing company Perceval Press. In his own words, the actor speaks with the lyricism befitting of a writer and a poet—two metiers that he considers as integral to his creative output as his acting. 

The acclaimed director discusses his latest feature Hit Man—an ingenious fusion of noir and screwball that continues his exploration of time, identity and human malleability.

While defined by its relationship to disgust, Ottessa Moshfegh’s writing is also informed by kitschier genres of commercial culture. Kitty Grady caught up with the My Year of Rest and Relaxation author in Paris to talk Yorgos Lanthimos, stand-up comedy, and why she wants to write a book about Gordon Ramsay. 

Gilda greeted the first Cannes Film Festival audience with a new type of morally ambiguous story, becoming a definitive example of film noir—complete with its iconic Rita Hayworth performance. In this essay, Peter Bradshaw explores the love story in which hate is the biggest aphrodisiac.

Showing as part of Sundance London, Jane Schoenenbrun's follow-up to their 2021 We're All Going To The World's Fair explores teenagers grief after a beloved TV show is cancelled. Here they talk screens, being a trans teenager and David Lynch.

The Italian writer talks about her new book, We Will Be Forest, a feminist tale of trees and time.

The composer discusses how he created the soaring but sensitive sonic world of Furiosa, the second installment in George Miller’s Mad Max franchise.

"Films and filmmakers that make noir their theme often embrace the complexity of the twists and turns of dark characters, flawed characters we sometimes love, and often describe their descent into the noir theme as intoxicating." Issue 8—our Cannes special featuring a cover from Nadia Lee Cohen—is here.