SIGHT AND SOUND
aka "Sight & Sound"
General, Mainstream Monthly Magazine from London ,United Kingdom


- First issue: 1991
- General cinema.
- Took its present form in May 1991 with the incorporation of Monthly Film Bulletin. Prior to that it was published quarterly.
- Half the magazine contains great articles on various topics and the other half has the film reviews for the contemporary releases. I especially like the full synopsis given for every movie: No surprises when you 're watching The Crying Game for the first time.
- Published by the British Film Institute.
- Monthly, 70 colour pages in A4 format.
- Published by British Film Institute (BFI)
- Website: www.bfi.org.uk

Last updated:
2020-12-31

Recent updates


Special thanks for this page goes to:
Garry Malvern
Grace
Scott Matheson
Gary

COVERS FOUND & MISSING
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There are 352 issues listed in the database

Info from the Cover Gallery
Covers found: 352
Covers missing: None
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CONTENTS: 1991 1992 1993 1994 1995 1996 1997 1998 1999 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012 2013 2014 2015 2016 2017 2018 2019 2020 All GALLERIES: 1991 1992 1993 1994 1995 1996 1997 1998 1999 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012 2013 2014 2015 2016 2017 2018 2019 2020 All

Issue 212
December 2008
Radical Chic: Is The Baader Meinhof Complex a thoughtful examination of Germany's recent past or does it glamorise terrorism? By Andrea Dittgen. PLUS James Bell talks to producer Bernd Eichinger.
Game for a century: As the great Portuguese director M


Issue 211
November 2008
The London Film Festival: Liverpool - A trilogy of closely observed characters: In his latest film the Argentinian director Lisandro Alonso varies and expands on his unique realist vision, argues Quint?n.
The London Film Festival: Liverpool - Intervi


Issue 210
October 2008
Who needs critics?: Critics need to show more passion and conviction if they're still to matter in the internet age, argues Nick James PLUS our panel of leading critics select examples of the great writing that inspires them; Mark Fisher on the vital role


Issue 209
September 2008
Popcorn Patter: Terrence Malick's Badlands now seems less a study of alienated youth and more like a screwball Western,argues David Thomson.
Reflections In A Golden Eye: Frederick Wiseman's dedication to chronicling American civic life should not dis


Issue 208
August 2008
Dream Tickets: With their inventive double bills, repertory cinemas once entertained and challenged their audiences. Sight & Sound asks 52 critics and programmers to do the same by choosing their own fantasy pairings. Introduction by Jane Giles.
Fami


Issue 207
July 2008
Cannes 2008: A royal rumpus: British cinema held its head high at this year's Cannes, with remarkable debuts from Steve McQueen and Duane Hopkins, and a moving return from Terence Davies. By Nick James.
Return Of The Cool: Nick James talks to Bruce Weber about his stylish 1988 portrait of Chet Baker.
Cinema Of The New Europe: Lest We Forget: Veteran Polish film-maker Andrzej Wajda's new


Issue 205
May 2008
Down In The Hole: HBO's cult series The Wire cuts across both sides of the law in its depiction of Baltimore's drug scene. Kent Jones celebrates a 60-hour epic that rises beyond the level of good TV.
Berlinale 2008: You Can't Always Get What You Want: It was a weak competition in which the artistry of Mike Leigh and Errol Morris raised the stakes - but did the unseasonable sunshine turn the jurors' heads, asks Nick James


Issue 203
March 2008
Boys' Own Stories: In the last decade a talented collection of players - including Wes Anderson, Charlie Kaufman, Ben Stiller, Will Ferrell and Owen Wilson - have brought their own brand of improvisational comedy and wry hum


Issue 202
February 2008
Burt Lancaster Charmer Chameleon: Whether embodying a roughened cowboy, a swashbuckling daredevil, a small-time crook or an Italian prince, Burt Lancaster brought a sharp intelligence and physical grace to his roles. Philip


Issue 201
January 2008
The Road Goes On Forever: Wim Wenders took the language of American film - in particular the rambling alienation of the road movie - and gave it a distinctly European spin. Nick Roddick travels the director's landscapes of th

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