Features and reviews
Discover the latest from the BFI, the UK’s lead organisation for film, television and the moving image.
5 things to watch this weekend – 17 to 19 March
Daniel Day-Lewis and Michelle Pfeiffer take us back to 1870s New York again, while love runs just as unsmoothly on the streets of Peckham.
By Samuel Wigley
60 years of Billy Liar: how the Bradford locations have changed today
By Adam Scovell
Tetris: falling blocks escape the Eastern Bloc – via licensing agreements
By Mark Asch
Winners: an optimistic Iranian cinephile drama
By Philip Kemp
Allelujah: a woolly, wobbly Alan Bennett adaptation
By Caspar Salmon
Words of Negroes: a bitter documentary about the lingering poison of servitude
By Oris Aigbokhaevbolo
Lunana: A Yak in the Classroom: gentle Bhutanese drama
By Leigh Singer
BFI and Cinecittà present Dario Argento: Doors into Darkness
Walter Hill: stories from 50 years of Hollywood action filmmaking
By Matthew Thrift
Budget 2023: UK tax reliefs to be remodelled as expenditure credits
The Middle Man: this morbid, mordant comedy plumbs the psychosis of the Trump era
By Anton Bitel
The Wife and Her House Husband: a scattershot drama in need of more narrative discipline
By Will Webb
Calls from Moscow: this documentary about Cuban migrants in Russia feels thin and overly repetitive
By Ela Bittencourt
Typist Artist Pirate King: this portrait of Audrey Amiss is by turns riotous and touching
By Catherine Wheatley
Why this Moroccan tailoring drama is a boost for queer culture in Africa and the Arab world
By Abiba Coulibaly
“One politician threatened to burn down the theatre and beat me publicly”: an interview with S.S. Rajamouli
By Arjun Sajip
Ron Peck honoured as BFI Flare returns
By Ben Walters
Y Sŵn: this dramatisation of the struggle for S4C is worth tuning into
By Glyn Morgan
5 things to watch this weekend – 10 to 12 March
By Samuel Wigley
“All these prizewinning Iranian movies are complicit”: an interview with Holy Spider director Ali Abbasi
By Arjun Sajip
How Saim Sadiq and Joyland beat the censors in Pakistan
By Sanam Maher
‘The most self-aware slasher ever made’: Scream reviewed in 1997
By Kim Newman
Manodrome: this unedifying portrait of toxic masculinity rings hollow
By Jessica Kiang
On the Adamant: a thought-provoking portrait of a refuge for Paris’s mentally unwell
By Travis Jeppesen
Kristy Matheson appointed as new BFI festivals director