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“As funny as the film is, knowingly sending up romcom clichés even as it embraces them, it is the beautifully played sombre moments that hit hardest” Alex Davidson reviews The Wedding Banquet bfi.org.uk/sight-and-soun…

Co-directed by Beatrice Minger and Christoph Schaub, this stylish film zips too quickly through Eileen Gray’s exciting life, but shows respect for the Irish architect’s creative vision. Katie McCabe reviews E.1027: Eileen Gray and the House by the Sea bfi.org.uk/sight-and-soun…

The new Sight and Sound magazine is ON SALE TODAY! In a world exclusive in-depth career interview, #TomCruise talks to Isabel Stevens about his storied career, working with Scorsese, Kubrick, Spielberg, Newman & Nicholson, and a surprising amount about lenses🎥 Genuinely a must-read piece🙏

“It’s a horror film in which nothing much happens, but for Sam the world is turned upside down.” Tom Charity reviews Good One, in cinemas tomorrow. bfi.org.uk/sight-and-soun…

“This is horror stripped down to that most fundamental of human fears – the dread of death – and it has us laughing and squirming at its gloriously gory finality” Anton Bitel reviews Final Destination Bloodlines, out now. bfi.org.uk/sight-and-soun…

“My memory of being a teenager is that you want to think the best of people, you want to believe that they are interested in you for genuine reasons” Katherine McLaughlin speaks to Good One director India Donaldson bfi.org.uk/sight-and-soun…

Twenty-five years on from the premiere of In the Mood for Love, Wong Kar Wai looks back on the complicated genesis of his masterpiece of desire and restraint. bfi.org.uk/sight-and-soun…

“Petzold transforms a tragic accident into a new beginning for four people – some strangers, others estranged – when a family of three takes in Laura (Paula Beer) who’s survived a car crash unscathed” Savina Petkova reviews Mirrors No. 3 from #Cannes2025 bfi.org.uk/sight-and-soun…

“It isn’t punching down: it’s punching every which way, flailing at straw men targets and low hanging fruit” John Bleasdale reviews Ari Aster’s Eddington from #Cannes2025 bfi.org.uk/sight-and-soun…

“Sirât opens at an illegal rave in the shadow of the mountains, where throbs of deep bass reverberate off the rock and shake the audience into a trance state beyond conscious thought” Mark Asch reviews Sirât from #Cannes2025 bfi.org.uk/sight-and-soun…

“Denzel Washington’s performance goes a long way in keeping things believable: with muscular conviction, he is able to bear the weight of a sometimes thin screenplay” Christina Newland reviews Spike Lee's Highest 2 Lowest from #Cannes2025 bfi.org.uk/sight-and-soun…

Joachim Trier’s Sentimental Value has won the Grand Prix at #Cannes2025, read on for our review: “Trier is saying that it’s not that cinema isn’t magic, it’s that this magic will not suffice alone” writes Sophie Monks Kaufman bfi.org.uk/sight-and-soun…

The Best Director Prize goes to Kleber Mendonça Filho at #Cannes2025 for The Secret Agent “One is tempted to call it a masterpiece” Giovanni Marchini Camia reviews. bfi.org.uk/sight-and-soun…

“Coming just a couple of years after Godard’s death, the movie is partly a memorial of a specific moment of possibility, but its verve is an invitation to do it yourself, too” Nicolas Rapold reviews Richard Linklater’s Nouvelle Vague from #Cannes2025 bfi.org.uk/sight-and-soun…

“Ethan Hunt’s adversary in the eighth and final (?) Mission: Impossible is AI, but his nemesis, all along, has been gravity” Henry K. Miller reviews Mission: Impossible – The Final Reckoning, out now. bfi.org.uk/sight-and-soun…

“Ray [Alexander Skarsgård], in his rubber boots and with his Clint Eastwood-like taciturnity, feels like an alien who has just landed from Planet Thirst” John Bleasdale reviews Pillion from #Cannes2025 bfi.org.uk/sight-and-soun…

“Iranian master Jafar Panahi delivers a cogent, morally ambiguous revenge tale” Christina Newland reviews It Was Just an Accident, Palme d’Or winner at #Cannes2025 bfi.org.uk/sight-and-soun…

“Repression is a very prominent force in Hermanus’s film, an altogether taciturn rather than emotive piece” Jonathan Romney reviews The History of Sound from #Cannes2025 bfi.org.uk/sight-and-soun…

“Heist movies run on the mechanics of escape and the thrill of getting away with it, but Kelly Reichardt’s latest detoured story brilliantly turns the genre on its head” Nicolas Rapold reviews The Mastermind from #Cannes2025 bfi.org.uk/sight-and-soun…