Mike Mill’s upcoming drama will receive its world premiere at the 54th New York Film Festival on October 8.
Ciro Guerra’s drama about indigenous tribes in the Colombian Amazon took home seven awards from eight nominations.
Oscar voters across the Atlantic will have felt some ripples from BAFTA’s Sunday night awards show as they weigh up their own choices.
A lack of diversity was glaringly apparent in this year’s Oscar nominations, writes Matt Mueller.
The Revenant’s 12 Oscar nominations have put Fox/New Regency’s drama at the top of the pile and reflects the Academy’s appreciation of a work of supreme craft and ambition.
The 2016 Golden Globe Awards belonged to The Revenant and The Martian on Sunday while two of the most nominated films at the start of the night left the Beverly Hilton empty-handed.
Screen editor Matt Mueller on the deserved recognition for British filmmaking in this year’s Bafta nominations – despite not securing a single entry in the Best Film category.
The Joy director reflected on his filmography and his recurring collaborations.
Who doesn’t like an underdog, asks Screen editor Matt Mueller.
Producers Dede Gardner and Jeremy Kleiner and director Adam McKay of The Big Short tell Elbert Wyche how they made an entertaining, informative film about the build-up to the calamitous global banking meltdown.
As Alex Garland’s Ex Machina vies for five Baftas and two Oscars, the film-makers look back on its production and debate the pros and cons of an international release strategy that saw the sci-fi film become a sleeper hit in the US. Mark Salisbury reports.
Bryan Cranston, the Oscar and Bafta-nominated star of Trumbo, talks to Jeremy Kay about digging deep to find the truth behind one of Hollywood’s screenwriting greats.
Alternative music pioneer Ryuichi Sakamoto and his regular collaborator, the leading electronic musician known as Alva Noto, talk to Tiffany Pritchard about their Bafta-nominated work on The Revenant.
UK costume designer Sandy Powell has four Bafta and Oscar nominations this year for her work on Cinderella and Carol. She talks to Tiffany Pritchard.
London costume house Angels has made and supplied outfits to hundreds of films, from Lawrence Of Arabia to Maggie Smith’s muddy boots in The Lady In The Van. As Bafta is poised to honour the company, Sarah Cooper meets the family of Angels.
With just two weeks to go until the Baftas on February 14, we are into the final stretch of awards season.
Local hits Spanish Affair and Spanish Affair 2 have given LaZona Films the confidence to expand into television, producer Gonzalo Salazar-Simpson tells Elisabet Cabeza.
Inspired by Turner and Delacroix, cinematographer Anthony Dod Mantle tells Mark Salisbury how intensity was key for In The Heart Of The Sea.
In a year of stunning visual-effects work, Ex Machina’s bewitching robot stands out as a peerless use of VFX. Mark Salisbury speaks to the team that created her.
Interviews with Michael Moore, Alex Gibney, Laurie Anderson and more…
With a change in eligibility rules, Bafta’s organisers are hoping that smaller films will benefit in certain key categories.
While Netflix and Amazon among others are revitalising the documentary sector in the US, it’s a different story in Europe, where factual film-makers are fighting for funds.
In-depth looks at Carol, Mad Max: Fury Road, Room and Spotlight
Will Quentin Tarantino’s The Hateful Eight be the film to shake up this year’s awards season? Jeremy Kay looks at which movies have achieved glory so far.
In her own words, Carol producer Elizabeth Karlsen reveals the 14-year-long journey to bring the adaptation of Patricia Highsmith’s novel to the screen.
Bestseller or not, Room’s sensitive subject matter was always going to be a cinematic challenge. Jeremy Kay speaks to writer Emma Donoghue, director Lenny Abrahamson and producer Ed Guiney about translating its emotional and physical space to the screen
From avoiding lawsuits to casting a prestige acting ensemble, the team behind best picture hopeful Spotlight reveal how they pulled off the high-wire act.
Mad Max: Fury Road has garnered critical acclaim and global box office of $375m and counting. But it was an arduous journey, as director George Miller, producer Doug Mitchell and production designer Colin Gibson tell Tom Grater.
The role of the EFAs is changing as they become more than just a chance to celebrate the best in European film-making. They now have a part to play in campaigning on important issues and bringing collaborators together.
Reports on the making of Inside Out, Shaun The Sheep Movie, The Good Dinosaur, Anomalisa, The Peanuts Movie and Minions
Charlie Chaplin, Peter Sellers and Mr Bean were the inspirations behind animation success story Minions. John Hazelton explores the rise of the be-goggled ones.
When the Schulz family entrusted the Peanuts characters with director Steve Martino, they had two stipulations: no twerking and no iPhones.
Animator Duke Johnson had to convince writer-director Charlie Kaufman that his spoken-word play Anomalisa would work as a feature film.
The Good Dinosaur director Peter Sohn talks to Elbert Wyche about bringing a friendly dinosaur and a dog-like boy to life and hatching the film’s environment from present-day reality
For a film with no dialogue, Shaun The Sheep Movie still took two years to write. The runaway hit’s creative team at Aardman talk to Ian Sandwell about the rigours and rewards of remaining mute.
The team behind Pixar’s Inside Out found inspiration for their strikingly ambitious trip into the human mind in some unlikely places, as Pete Docter tells Jeremy Kay.
How do you turn a great evening ceremony into a meaningful year-round brand? That’s the challenge the new co-directors of the British Independent Film Awards have set for themselves.
In Steve Jobs, Kate Winslet plays the Apple genius’s closest confidante and moral conscience. She tells Matt Mueller about looking out for Michael Fassbender and finding good roles in the industry.
How did the Swedish actress who made her name in a Danish film climb up the international A-list so quickly? Charles Gant charts the stellar career so far of The Danish Girl’s Alicia Vikander.
Idris Elba’s mesmerising performance as the predatory soldier Commandant in Cary Fukunaga’s Beasts Of No Nation is based on the actor’s empathy with his character, as he tells Jeremy Kay.
The 81 features submitted for foreign-language Oscar contention will be whittled down to a shortlist of nine in mid-December, before being narrowed further to the final five nominations. Screen delivers the lowdown on this year’s contenders.
Since its debut at Cannes, Laszlo Nemes’ Son Of Saul has become one of the most admired films of recent years. So why did so few financiers want to back it?
Making a film about how Germany dealt with the aftermath of the Holocaust was an educational journey for Labyrinth Of Lies director Giulio Ricciarelli, as he tells Jeremy Kay.
Director Naji Abu Nowar describes how the optimism and energy of the Arab Spring inspired him to make his debut feature, Theeb, Jordan’s entry to the best foreign-language film Oscar.
The last time a Latin American film won the foreign-language Oscar was in 2009 with The Secret In Their Eyes, now remade with Nicole Kidman. Screen meets four of this year’s hot contenders.
Cohen Media Group talks acquiring European Oscar and César hopefuls and its expansion into exhibition.
Celebrating six BAFTA nominations and three Oscar nominations, Wildgaze Films duo Finola Dwyer and Amanda Posey look back at Brooklyn’s journey and ahead to their future slate and ambitions
UK writer-director Andrew Haigh reflects on a whirlwind year for 45 Years, his disappointment Charlotte Rampling and Tom Courtenay missed out on Bafta nominations, and upcoming projects Lean On Pete and an Alexander McQueen biopic. Michael Rosser reports.
Mads Matthiesen made a splash with his 2012 debut Teddy Bear. The Danish director talks to Wendy Mitchell about his English-language follow-up, The Model, which screens at Goteborg and Rotterdam.
After the Golden Globes, Bafta and Oscar nominations, The Revenant has become this awards season’s front-runner. Jeremy Kay talks to producer Mary Parent about bringing the most challenging project of her career to fruition
The politically engaged composer discusses why he was drawn to Suffragette and The Danish Girl
More commonly known as Junkie XL, the Dutch composer turned to religious themes and heavy metal to score Mad Max: Fury Road
Johann Johannsson’s score for Sicario rumbles and intimidates “like a beast lurching in slow motion”, he tells Tiffany Pritchard, who meets five of the composers in contention this awards season
The director discuss his documentary about the recent Ukrainian Revolution.
The director discusses her Nina Simone documentary.
Cinematographer Emmanuel Lubezki talks to Mark Salisbury about the gruelling shoot in ice and snow that ensured The Revenant became a wholly immersive viewing experience
Charlotte Rampling and Tom Courtenay speak to Elbert Wyche about portraying a married couple shocked from their quietude by a ghost from the past, in Andrew Haigh’s 45 Years
Director Paddy Breathnach and producer Robert Walpole recall the 17-year process behind their Oscar foreign-language contender Viva.
Michael Moore reveals how his electrifying Where To Invade Next was made under the radar.
Laurie Anderson talks the inspirations for her intimate documentary Heart Of A Dog.
Cosima Spender talks about making Palio under the watchful eye of Siena’s authorities.
Matthew Heineman reveals why he simply picked up a camera and headed into the dangerous world of Mexico’s drug wars.
Producers Walter Parkes and Laurie Macdonald reveal why they changed tack to make Davis Guggenheim’s He Named Me Malala as a documentary rather than narrative feature.
Alex Gibney describes the intimidation tactics deployed against his Scientology exposé.
The team behind timely historical drama Suffragette speak about bringing the story to the screen and playing a part in global cultural change.
Interviews with Steven Spielberg, Ridley Scott, Danny Boyle, Aaron Sorkin, Cary Joji Fukunaga, Alejandro Gonzalez Inarritu and Phyllis Nagy.
Steven Spielberg reveals how his latest feature, Bridge Of Spies, has been more than 50 years in the making, why he continues to shoot on film and whether he would ever re-cast Indiana Jones. Michael Rosser reports
With The Martian, Ridley Scott has landed the biggest global hit of his career. The director tells Jeremy Kay about his initial reservations, working with Matt Damon and why he keeps so busy
Danny Boyle and Aaron Sorkin, the director and writer of Steve Jobs, tell Mark Salisbury why it is crucial for film-makers to tell the stories of the tech titans shaping our world
For Alejandro Gonzalez Inarritu, making The Revenant was comparable to Ernest Shackleton’s heroic exploration of the Antarctic. He tells Jeremy Kay about the challenges and rewards of endurance film-making
Directors, producers and actors came and went but Phyllis Nagy remained the one constant. The writer of Patricia Highsmith adaptation Carol talks to Nikki Baughan
Making Beasts Of No Nation was a long-held ambition for True Detective director Cary Joji Fukunaga. He talks to Jeremy Kay about overcoming the perilous shoot and the Netflix pay-off
Veronika Franz and Severin Fiala discuss the challenges of casting twins and fighting in the editing suite
Portraying Infinite Jest author David Foster Wallace in the indie drama, Jason Segel explains how he tuned into the late writer
Interviews with Michael Fassbender, Brie Larson, Saoirse Ronan, Idris Elba, Alicia Vikander, Kate Winslet and Benicio del Toro.
Benicio del Toro talks to Jeremy Kay about his role as a ruthless killer in Denis Villeneuve’s Sicario and the disheartening lack of progress in the war on drugs since his work on Traffic in 2000.
John Crowley, the director of Brooklyn, talks to his leading lady Saoirse Ronan about dancing with the camera, connecting to the role and a fortuitous meeting with Patti Smith. Wendy Mitchell reports.
Brie Larson went to startling lengths to prepare for the role of a lifetime in Lenny Abrahamson’s Room, as she reveals to Jeremy Kay.
Following a series of charismatic turns, Michael Fassbender finishes 2015 on a high with a suitably meticulous portrayal of Apple saviour Steve Jobs. Tom Grater chats to the actor about method and motivation
Mark Johnson, chairman of AMPAS’s foreign-language film award committee, tells Matt Mueller about the quiet revolution that has led to films such as Amour and Ida winning the coveted Oscar
Deniz Gamze Ergüven reveals how the production of her debut feature Mustang is itself a tale of female emancipation.