The BFI’s highest honour recognises the huge global impact of Mulvey’s work through her groundbreaking writing and filmmaking, including her seminal essay ‘Visual Pleasure and Narrative Cinema’.

Writer-director Hikari returns to the BFI London Film Festival with her second feature as American Express Gala, hosted at the Southbank Centre’s Royal Festival Hall with screenings around the UK.

This learn more about some much-needed auditing completed by our Access Team and about a special crowdsourcing event hosted at BFI Southbank.

A camel sits among the punters in a small London cinema in these unique promotional photos from 1962 – all intended to drum up excitement for the upcoming release of David Lean’s desert epic Lawrence ...

During his final preparations for this year’s Edinburgh International Film Festival, festival director Paul Ridd joined us to talk about his new guiding principles for the programme and makes some ...

England’s most-adapted dead lady novelist” – was a pleasing departure from other recent takes, argued our critic upon the film’s release. From our March 1996 issue.

Director Shoshannah Stern’s documentary about Marlee Matlin, the first deaf actor to win an Oscar, offers thought-provoking insights into the history of disability inclusion (and exclusion) in America ...

All but one child from the same Pennsylvania elementary school class disappears overnight in this twisty creeper from Barbarian director Zach Cregger.

It is a truth universally acknowledged that a novel written by Jane Austen must be in want of an adaptation. Or several. Two hundred and fifty years after Austen was born, and with Ang Lee’s Sense and ...

Lewis and Gordon Warnecke, My Beautiful Laundrette broke major ground in its bold exploration of race and sexuality in the Thatcher era. Forty years on, what’s become of the laundrette and the other ...

Titles include Eyes Without a Face on 4K UHD and The House of Mirth and Jeanne Dielman, 23, quai du commerce, 1080 Bruxelles on Blu-ray.

From a Kurosawa-style epic of towering scale to a 1960s geisha drama, Christina Newland finds Bristol’s annual feast of archive cinema as alluring as ever.