Film

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The Wonder: Florence Pugh nourishes the soul as a nurse in 19th-century Ireland

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Bill Nighy: ‘Everyone can make a difference if we cooperate’

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This is Gwar interview: ‘We are the real Spinal Tap’

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Eddie Redmayne: ‘At the end of lockdown I was looking to explode’

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Decision to Leave: A romantic tale of death and deceit

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Jenny Agutter: ‘The Railway Children seems like yesterday’

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James Bond at 60: 007’s best gadgets

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London Film Festival

LFF eats the rich: 7 films tackling inequality at the London Film Festival 2022

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Mrs Harris Goes to Paris review: Lesley Manville swaps drudgery for a dream dress

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Don’t Worry Darling: A dystopian take on the American Dream

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Crimes of the future: Surgery is the new sex in Cronenberg’s latest ick-flick

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Michael Flatley on writing, directing and starring in his spy thriller Blackbird

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EIFF highlights: From naked New Zealanders to Korean car chases

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Memory: Another outing for Liam Neeson’s cool black coat

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Hugh Bonneville: ‘I’m not scary, I’m cuddly’ – how the Downton Abbey star became the villain in new Netflix film I Came By

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Gabriel Byrne: ‘Leonard Cohen has been a soundtrack to my life’

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Willa Fitzgerald on her Watergate thriller 18½: ‘We live in a very different political atmosphere’

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Peter Cushing’s Dr Who movies regenerated for a new audience

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Rainn Wilson on the meaning of life, America and the ‘gratifying’ legacy of The Office

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Elvis review: The paradox of American myth-making

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