Support The Quietus

Our journalism is funded by our readers. Become a subscriber today to help champion our writing, plus enjoy bonus essays, podcasts, playlists and music downloads.

Support & Subscribe Today

Film

The big screen brought to your little screen

Film

Hack The Matrix: How Johnny Mnemonic Predicted 2021

One of the most notorious flops of the 1990s, Johnny Mnemonic somehow predicted where we are today – and there's no better time to revisit it than before Keanu Reeves' return in The Matrix Resurrections, finds David Robb

Film

I Should Have Been There: Depeche Mode’s 101 Revisited

As Depeche Mode reissue the film and live album documenting the 101st and final show of their colossal 1988 tour, Ned Raggett reflects with regret on how he turned down the opportunity to see the gig in person, and revisits it on Blu-Ray 33 years on

Film

Performing Beauty And Charm In Suspicion At 80

Alfred Hitchcock's Suspicion might have turned 80 this year, but remains as relevant as ever regarding star image and the danger of male beauty and charm, finds Gabriela Almeida

Film

House Of Gucci: The Camp Pleasures Of Sir Ridley Scott

Ridley Scott has a long-running love affair with extravagant, theatrical and delectably trashy cinema – making House of Gucci nothing more than a logic next step, finds Brian Quinn

Film

Bande Du Film: Céline Sciamma’s Music Of The Future

French auteur Céline Sciamma uses music sparingly in her films – but it's always vital to unlock a richer world, finds Rory Doherty

Film

Back To The Future: The Music Of Beverly Glenn-Copeland

The legacy of musician Beverly Glenn-Copeland is finally honoured with the documentary Keyboard Fantasies, a labour of love by director Posy Dixon – who speaks to John Harris Dunning for tQ

Film

Beauty, Art, Action: Paul Schrader’s Male Martyrdom

Paul Schrader's diaristic style reaches its peak with The Card Counter, but it also nods to his penchant for male martyrs and a singular take on masculinity, finds Caleb Carter

Film

Not All Men: Sex And Power In Last Night In Soho

Edgar Wright centres women for the first time in his ode to 1960s London, but maybe he shouldn't have – this feminism is bleak and insulting, finds Ella Kemp

Film

Watching The World Go By: On Takeshi Kitano’s A Scene At The Sea

Takeshi Kitano is often presented as the model gangster auteur, yet the apotheosis of his early period – turning 30 this year – prioritises the calm art of people watching above all else, finds Blaise Radley

Film

Out Of The Ashes: The Evil Dead At 40

While Sam Raimi's The Evil Dead remains a cult classic, rewatching the film through the lens of a marginalised person reveals a complicated journey of power and humiliation, finds Samuel Sims

Film

Reel Sounds – Vol. 4: St. Vincent, Damien Dempsey And More At Doc’N Roll 2021

This year's Doc'n Roll festival grapples with artifice and authenticity as it returns to the big screen, finds Neil Fox

Film

Elegant And Brutal: Todd Haynes On The Myth Of The Velvet Underground

A new documentary from the Velvet Goldmine and I’m Not There director explores the singular NYC band, who existed on the fringes of society and boundaries of taste but at the epicentre of the 1960’s avant-garde scene, as Ben Gilbert explains

Film

Rare Hunks: Walter Hill’s Southern Comfort At 40

Walter Hill might not have intended Southern Comfort as a Vietnam allegory 40 years ago, but his war film remains effective with its flawed male soldiers, finds Brogan Morris

Film

Cinema As Enema: The Butthole Surfers On Film

Ben Graham looks at the Texas band’s onscreen appearances, from the notorious Bar-B-Que Movie to an incendiary appearance on The Larry Sanders Show, and concludes that show business was in their blood all along

Film

Hired Tunes: Anatomy Of A James Bond Song

With No Time To Die finally in cinemas, Frederick O'Brien dissects the rights and wrongs of the complex formula making up a perfect James Bond song

Film

High Tech, Old English: Beowulf And The Green Knight

The refurbishment of ancient stories with cutting edge visual effects projects current anxieties without thinking about futuristic storytelling - but Tom Duggins asks what might have changed in the last 14 years since the last big take on an Old English classic

Film

You Silly Goose: The Courier And Our Tired, Boring British Period Films

As The Courier winds down its theatrical run, the landscape for British period films has never been more bleak, derivative and thoroughly unimpressive, finds James Robins

Film

Femininity And Fandom: Spirited Away At 20

Though celebrated for its consideration of the environment and consumerism, the Studio Ghibli powerhouse also deserves attention for how it unpacked gender, or refused to, finds Joe Molander

Film

Inspiration And Implementation: Olivier Assayas On His Key Films

To mark the Blu-Ray release of a new box set of his films, Olivier Assayas takes Greg Hyde through the major questions of his biggest titles, from Sonic Youth to Personal Shopper

Film

20 Years On: The People Who Captured 9/11 Up Close

Twenty years after the disaster, four people who recorded astonishing footage of 9/11 speak to Eliz Mizon about their experience, and their relationship to the infamous footage they captured

Film

Stationary Peaceful Protest: Xhosa Cole Interviewed

Ahead of his appearance at Flatpack Festival, where he is rescoring Sidewalk Stories, award winning musician Xhosa Cole talks to Fergal Kinney about Handsworth, BLM and British jazz

Film

Inside Zohra, Afghanistan’s First All-Female Orchestra

Musician turned filmmaker Dan Blackwell shines a light on Zohra, Afghanistan's first female-led orchestra, in new film Sisters. Nilgin Yusuf meets the director

Film

Beautiful Violence: Prano Bailey-Bond On 1980s Horror Censor

With her feature debut Censor, writer-director Prano Bailey-Bond sheds light on 1980s Britain during the video nasties era. Tom Seymour interviews the filmmaker to find out more

Film

Be Free: The Morose and Joyful Harold And Maude At 50

At once tender and existential, bleak and ecstatic, Hal Ashby's crowning jewel Harold and Maude is as charming and kaleidoscopically impactful today as it was in 1971, finds Rafaela Sales Ross

Film

Shyamalan’s The Village: An Old Haven From The Modern World

In the wake of M. Night Shyamalan's new existential horror film Old, the filmmaker's 2004 period thriller The Village has only become more potent in its striking grasp on generational regret, finds Tony Black

Film

The Sparks Brothers: Edgar Wright Interviewed

To mark the release of his first feature-length documentary and his love letter to Sparks, Edgar Wright speaks to Jeremy Allen about symbiotic genius and the secret to success

Film

Take Shelter: Ben Sharrock On Limbo And The UK’s Violent Legacy

With his sophomore feature Limbo, writer-director Ben Sharrock recentres the epidemic of indifference sweeping Europe regarding asylum seekers. Anahit Behrooz interviews the filmmaker to find out more

Film

Pure Imagination: Studio Ghibli’s Only Yesterday At 30

It topped the Japanese box office in 1991, but Only Yesterday remained somewhat neglected overseas – despite being one of Studio Ghibli's most gentle and mature films, finds Mathew Lyons

Film

Miss American Pie: Black Widow And Marvel’s Rotten Women

Marvel's recent female heroines offer a cultural turning point, but with Black Widow leading the charge, they still fail to reveal the rottenness of America's myth as force for good, finds Soma Ghosh

Film

I’m A Filmmaker, The Film Makes Me: Quentin Dupieux’s Deerskin

Quentin Dupieux (aka Mr Oizo) returns with a killer comedy that understands self-invention and the challenges of the auteur's skin, both literal and mental, finds Savina Petkova

Film

Notes On Anti-Fascism And Frivolity In Raiders Of The Lost Ark At 40

In 1981, Raiders of the Lost Ark seemed like mindless entertainment – but its legacy as an antifascist statement has only grown stronger in the last 40 years, finds Steve Erickson

Film

Are We Human? Steven Spielberg’s A.I. At 20

Steven Spielberg's strongest and strangest film set the tone and pace for the filmmaker's most prolific period in the 2000s – and has aged gloriously, finds Sam Moore

Previous Page / 34 Next

The Quietus Digest

Support The Quietus

Our journalism is funded by our readers. Become a subscriber today to help champion our writing, plus enjoy bonus essays, podcasts, playlists and music downloads.

Support & Subscribe Today

Support The Quietus

Hack The Matrix: How Johnny Mnemonic Predicted 2021

I Should Have Been There: Depeche Mode’s 101 Revisited

Performing Beauty And Charm In Suspicion At 80

House Of Gucci: The Camp Pleasures Of Sir Ridley Scott

Bande Du Film: Céline Sciamma’s Music Of The Future

Back To The Future: The Music Of Beverly Glenn-Copeland

Beauty, Art, Action: Paul Schrader’s Male Martyrdom

Not All Men: Sex And Power In Last Night In Soho

Watching The World Go By: On Takeshi Kitano’s A Scene At The Sea

Out Of The Ashes: The Evil Dead At 40

Reel Sounds – Vol. 4: St. Vincent, Damien Dempsey And More At Doc’N Roll 2021

Elegant And Brutal: Todd Haynes On The Myth Of The Velvet Underground

Rare Hunks: Walter Hill’s Southern Comfort At 40

Cinema As Enema: The Butthole Surfers On Film

Hired Tunes: Anatomy Of A James Bond Song

High Tech, Old English: Beowulf And The Green Knight

You Silly Goose: The Courier And Our Tired, Boring British Period Films

Femininity And Fandom: Spirited Away At 20

Inspiration And Implementation: Olivier Assayas On His Key Films

20 Years On: The People Who Captured 9/11 Up Close

Stationary Peaceful Protest: Xhosa Cole Interviewed

Inside Zohra, Afghanistan’s First All-Female Orchestra

Beautiful Violence: Prano Bailey-Bond On 1980s Horror Censor

Be Free: The Morose and Joyful Harold And Maude At 50

Shyamalan’s The Village: An Old Haven From The Modern World

The Sparks Brothers: Edgar Wright Interviewed

Take Shelter: Ben Sharrock On Limbo And The UK’s Violent Legacy

Pure Imagination: Studio Ghibli’s Only Yesterday At 30

Miss American Pie: Black Widow And Marvel’s Rotten Women

I’m A Filmmaker, The Film Makes Me: Quentin Dupieux’s Deerskin

Notes On Anti-Fascism And Frivolity In Raiders Of The Lost Ark At 40

Are We Human? Steven Spielberg’s A.I. At 20

Most Popular

Something They’ll Never Have: Why Hatful of Hollow is The Smiths’ Best Album

The Archivist: Mark Webber of Pulp’s Baker’s Dozen

Beautiful Losers: Jim Reid of The Jesus And Mary Chain’s Baker’s Dozen

What You Give is What You Get: Paul Weller Live in London

Bakers Dozen: Portishead Choose Their Favourite 13 Albums

It Always Ends In Hope: Dawn Richard’s Favourite Albums

RIP Florian Schneider: A Kraftwerk Baker’s Dozen Special

Excellences & Perfections: Young-Girl Forever by Sofie Royer

The Body The Crying Out of Things

Straight Hedge! Noel Gardner Reviews Punk & HC for November

Ten Things You (Possibly) Don’t Know About Kraftwerk

There’s Nothing Better: Jason Pierce’s Favourite Albums

Keeping Score: An Interview With The Body

The Quietus Digest

Support The Quietus

Get The Portal Direct To Your Inbox

The Quietus Digest

The Body
The Crying Out of Things