Hosking’s wacky two-hander imagines a rendezvous with Paul McCartney and Stevie Wonder, who meet at a remote ‘Scottish Cottage’ to eat veggie patties, smoke ‘doobie-woobies’ and work on an anti-racist ...

First-time director Usman Riaz embraces the old-fashioned star-crossed romance with a beautifully animated Studio Ghibli-inspired film about a young glass-blowing artist and his lost love.

The investment of £150 million over three years represents a 10% increase to support UK screen culture and industry and will build on successful interventions made since the strategy was launched in ...

As Werner Herzog’s Nosferatu the Vampyre arrives on Blu-ray and 4K UHD, we chart the history of the horror genre in Germany, from its uncanny beginnings in the silent era.

In charismatic performances of immense restraint over more than half a century, Robert Redford blended traditionalism, predictability and inscrutability to great effect. From our January 2019 issue.

Kicking off a new series celebrating the 200th anniversary of the UK’s passenger railways, curator Steven Foxon offers a whistle-stop tour of the long-running love affair between cinema and trains, ...

All copies are now lost, but the 1950s TV show The Gallery of Madame Liu-Tsong was a genuine landmark in television history: the first show with an Asian-American star and the first centred around a ...

Transposing the story of the recent Nazi destruction of a Czech mining village to the Welsh valleys, Jennings’ 1943 film The Silent Village was a powerful alternative-history story that prompted a ...

Werner Herzog’s Aguirre is a fevered descent into madness and myth, where colonial ambition meets cosmic futility. Blending hallucinatory Romanticism with Brechtian realism, his jungle epic becomes a ...

A chance to find out about the specialist skills and technology that go into conserving the national collection of film and television.

Sam Riley stars as a tennis coach at a Fuerteventura resort who gets wrapped up in an absorbing missing person mystery.

Rob Reiner’s follow-up to This Is Spinal Tap (1984) has plenty of great gags, but without the sharp satire of the original, it feels too close to the hagiographic music docs it once mocked.