The Oscars feel silly in an era of endless crisis. But film still matters | Dave Schilling
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Palestinian actor says he can’t attend Oscars because of US travel ban
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‘You cannot unsee it’: what happened next for this year’s Oscar documentary nominees?
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‘Everyone will tune in – she’s one of our own’: Jessie Buckley’s home town abuzz before Oscars
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Oscars 2026: who should win… and who actually will? - The Latest
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‘I’m wearing the tree fibre undies right now!’ An audience with the organisers of the Oscar goodie bags
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Sinners or One Battle: what can we learn from this year’s anonymous Oscar ballots?
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King Conan is Arnold Schwarzenegger’s chance for a late-period masterpiece, like Clint Eastwood’s Unforgiven
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From Björk’s swan dress to Céline’s back-to-front tux: the most iconic Oscar red carpet looks
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Oscars 2026: how to watch, nominations, what to read and predictions
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‘Wouldn’t life be easier if I were white?’: inside a provocative race-swap body horror
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Why Marty Supreme should win the best picture Oscar
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A new wave of defiance: the Turkish film-makers standing up to autocracy
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Ben Jennings on the Oscars – cartoon
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‘On YouTube, we can reach 2.5bn people at once’: Oscars head Bill Kramer on TV, AI and 4am starts
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‘Casting is a very easy thing for others to take credit for’: Richard E Grant on cinema’s invisible moguls
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Hollywood’s idea of beauty once meant polished and slim, not altered and gaunt. This new look is unsettling | Brigid Delaney
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Act Black: posters of Black Americans on stage and screen – in pictures
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The Straight Story review – David Lynch’s 1999 midwest heartwarmer is an outlier well worth the trip
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Why Sentimental Value should win the best picture Oscar
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Zulu Dawn review – fine ensemble cast show arrogance that led to British imperial disaster
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Billie Eilish set for big screen acting debut in Sarah Polley’s adaptation of The Bell Jar
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Reminders of Him review – contrived Colleen Hoover romance has its charms
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How to Make a Killing review – one man on a bloody quest for his inheritance is a remake too far
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Why Black women playing villains on screen still feels controversial
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One Last Deal review – Danny Dyer revs up phone-bound yarn about fast-talking football agent
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Why F1 the Movie should win the best picture Oscar
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Your Oscars questions answered: ‘The best film of the year hasn’t actually won best picture since 12 Years a Slave’
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The Tasters review – wartime historical drama about Hitler’s Wolf’s Lair food samplers
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Academy wars: how did this season’s Oscars discourse get so toxic?
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Bodycam review – low-budget chiller oozes with supernatural menace
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Leap Year is patently ridiculous and widely panned. It’s also the perfect romcom
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I’ll also be back as Conan: Arnold Schwarzenegger to make third Barbarian film 44 years after original
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Project Hail Mary review – Ryan Gosling’s charm carries unserious last-ditch space mission
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Turner & Constable review – excellent survey of two great rivals in English painting
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Blueberry Dreams review – a gentle, humorous portrait of a Georgian family who start a fruit farm
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Why One Battle After Another should win the best picture Oscar
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Learning You review – faith-stuffed autism road trip drama sets off to find father-son connection
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Gus Van Sant: ‘My assistant wanted to erect a statue of Luigi Mangione. My generation thought: this is murder’
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Rosanna Arquette says Quentin Tarantino’s use of N-word in Pulp Fiction is ‘racist and creepy’
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Bad Voodoo review – escaped-convict horror worthy of a theme park ghost train
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Pixar chief says LGBTQ+ plot elements cut from Elio as company is ‘not making therapy’
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The Great Arch review – a visionary architect crushed by the politics of prestige
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‘Cathartic violence’: why Kill Bill: Volume 1 is my feelgood movie
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Terraforma review – unhurried portrait of Ascension Island’s human-made nature
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Which are more like life, novels or films?
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The making of Fargo at 30: ‘Man, you don’t give me this role, I’m gonna shoot your dog’
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‘A very paternalistic attitude’: why is female desire still not taken seriously?
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‘Kitty karma’? Jessie Buckley tries to claw back approval after enraging cat-lovers
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Ben Affleck sells his AI postproduction startup to Netflix
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From luxury ‘dupes’ to literary doubles: why doppelgangers are everywhere right now
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‘Did I just hear what I thought I heard?’: Sinners’ Delroy Lindo on Bafta N-word controversy
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‘Only Nazis ban books’: on the frontlines with students fighting Trump over higher education
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War Machine review – Netflix bravely asks: what if Predator but Transformers?
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Why Hamnet should win the best picture Oscar
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Hard Boiled review – John Woo’s outrageously explosive 1992 cop thriller is pure action mayhem
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‘Our bond is private. Some things have to stay between us’: Paolo Sorrentino and Toni Servillo on smoking, cinema and secrets
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The ‘Jim Carrey is a clone’ theory is absurd. Of course people believe it | Dave Schilling
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Chic couture, bio-terror and a whole load of Mike Leigh: Lesley Manville’s finest films – ranked!
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Mother’s Pride review – flat-cap populism and weak beer in Martin Clunes post-Brexit pub comedy
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Why Bugonia should win the best picture Oscar
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Breaking Social review – Rutger Bregman leads an irresistible rallying cry for global activism
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‘At first, she couldn’t come off the oxygen long enough’: the film that gives Marianne Faithfull one final thrilling performance
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The Bride! review – Jessie Buckley is electrifying as frizzy-haired, black-tongued monster’s wife
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Dolly review – six-foot mannequin terrorises camping couple in gory, trope-filled horror
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And the least likable character is … how Oscar season became dominated by difficult people
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Rise of the veavage: how one look came to rule the red carpet
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Outgunned review – action-thriller in Angola sees sadistic child-hunting gang out for revenge
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Why Sinners should win the best picture Oscar
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Play Dead review – an intriguing high-concept horror set in a murder basement holds its breath
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