How ‘Fleabag’ Seduces Us, Then Accuses Us
She flirts with a priest. Then she flirts with the camera. The fourth wall breaks and — suddenly — we’re complicit in her self-destruction.
An Oral History of Sofia Coppola's 'Marie Antoinette'
Near the start of 2001, Sofia Coppola wrote to Lady Antonia Fraser on a piece of personalized, pale-blue stationery.
Priscilla Presley Was Initially ‘Very Concerned’ About Sofia Coppola’s Film
Told from Priscilla’s point of view, Sofia Coppola’s new intimate biopic Priscilla delves into the famous couple's relationship, shedding light on some of the lesser-known and more unsettling aspects of their courtship and marriage.
How Portrait of a Lady on Fire celebrates the female gaze
Céline Sciamma’s Portrait of a Lady on Fire offers a countermeasure to centuries of the male gaze in art, reaching out to other female artists and poets in its study of desire and creation, finds Ren Scateni, part of our LFF Critics Mentorship Programme.
'Saltburn' Director Emerald Fennell Doesn't Know Anyone Nice
Emerald Fennell knows a beautiful thing when she sees it. For Vanity Fair’s Notes on a Scene series, the Saltburn director does a deep dive on constructing the pivotal scene in which Oliver (Barry Keoghan) first arrives at the titular British estate and is taken on a tour of the lavish grounds by Felix (Jacob Elordi) before they spend a fateful summer together.
Killing Eve: A Feminist Exploration of a Hypermasculinized Genre
The BBC series Killing Eve, about the obsession between a spy and an assassin, explores the hypermasculinized spy-thriller genre by subverting it, presenting it through the experiences of women.