Film

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Jean-Michel Jarre: ‘My success was so big and violent it was almost abstract’

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Andrea Riseborough: We’re at the turning point for female oppression

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‘The Girl In The Spider’s Web’ – Lisbeth Salander reloaded for troubled times

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Tim Minchin: “Comedians don’t want to be trying to topple a despot”

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Bold, arresting, difficult – Luca Guadagnino’s ‘Suspiria’ is a remake to fear

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Read Street Cat Bob’s lessons for life in this week’s The Big Issue

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‘Outlaw King’ is a chaotic, horrific spectacle seeping with Scottish beauty

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Steve McQueen’s ‘Widows’ is a lesson in how to portray badass women in film

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Jamie Lee Curtis is back for ‘Halloween’, so how about a ‘Blue Steel’ sequel?

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Rami Malek unravels the tireless, joyous making of ‘Bohemian Rhapsody’

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John Carpenter’s satirical horror ‘They Live’ looks scarily prescient today

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Lunar eclipsed – ‘First Man’ leaves our critic earthbound in his final review

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‘Columbus’ savours the fine architecture of buildings and relationships alike

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‘The Gospel According to André’ – the doc for a dedicated follower of fashion

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Back in the saddle – ‘The Rider’ leaps flawlessly between reality and fiction

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Chloë Grace Moretz: “Buying a ticket to see this movie is casting a ballot”

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‘Yardie’ star Aml Ameen went deep for role in Idris Elba’s directorial debut

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Pawel Pawlikowski’s musical romance ‘Cold War’ finds love in a hopeless place

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Spike Lee’s ‘BlacKkKlansman’ is a provocative and urgent film for our times

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Brian Henson: “I depicted a puppet ejaculating Silly String”

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