‘The roles on offer were prostitute or takeaway worker’: How Jing Lusi defied racist stereotypes – and became a star
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Bleeding Love review – Ewan McGregor and daughter Clara are toe-curlingly terrible in rehab flick
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Forty years and $120m later: Francis Ford Coppola’s Megalopolis to debut at Cannes
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Joker: Folie à Deux: trailer for Joaquin Phoenix and Lady Gaga musical sequel released
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Leo Woodall to join Renée Zellweger and Hugh Grant for Bridget Jones 4
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‘Her demons were probably worse’: does Back to Black reveal the real Amy Winehouse?
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Miriam Margolyes condemns Israel’s policy in Gaza, calling on Jews to ‘shout, beg, scream for a ceasefire’
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Opponent review – Iranian wrestling champ’s complex battle for asylum
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On Fire review – smoke-filled disaster movie asks God to help out with climate crisis
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Michael Palin on the loss of his wife of 57 years: ‘I’d love Helen to still be here, telling me off’
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Back to Black review – woozy Amy Winehouse biopic buoyed by extraordinary lead performance
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Billy Dee Williams says actors ‘should’ be allowed to wear blackface
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Jonathan Majors sentenced to probation but no prison time for assaulting ex-girlfriend
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Tom Ripley is a psychopath made for social media | Peter Bradshaw
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Adrian Schiller obituary
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LaRoy, Texas review – Coen-esque crime farce is a hyperactively fun ride
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The Stolen Valley review – Thelma and Louise-lite road western has right on its side
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Bobcat Moretti review – heartfelt boxing underdog tale goes down the signpost route
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Tolyatti Adrift review – young Lada restorers aim to escape Russia’s post-industrial angst
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‘All the romance of film-making is gone’: Woody Allen hints at retirement – again
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Seize Them! review – a comic romp through medieval Britain
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Scoop review – Rufus Sewell and Billie Piper shine in Prince Andrew drama
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The Conversation at 50: Francis Ford Coppola’s paranoid and predictive masterpiece
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Monkey Man review – Dev Patel directs and stars in a bloody revenge thriller
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‘Another layer of pigment needed adding to the canvas’: artist John Akomfrah on changing the narrative, from Windrush to colonialism
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When Disney lost its way – scenes from the studio, 1978
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David Dastmalchian on spooks, scarecrows, and drag queens: ‘An old horror movie lulls me to sleep’
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I don’t need a note-perfect portrayal of Amy Winehouse. The quality of acting is the key | Barbara Ellen
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Io Capitano review – Matteo Garrone’s wrenching migrant drama is unexpectedly beautiful
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‘Shagging and shoes’: why Gen Z has fallen in love with Sex and the City
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Adeel Akhtar: ‘I’ve got a lovely level of fame’
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‘I’d love a scathing review’: novelist Percival Everett on American Fiction and rewriting Huckleberry Finn
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Mark Kermode on… Céline Sciamma, the auteur who finds the universal in the unique
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Sam Taylor-Johnson on art, age gaps and Amy Winehouse: ‘Filming sucked me to a place I didn’t know how to get out of’
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From Monkey Man to The Regime: a complete guide to this week’s entertainment
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The Guide #133: Why is Beyoncé’s Cowboy Carter so long?
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Time to take the blue pill – do we really need a fifth Matrix film?
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Marco Bellocchio on his new film about the notorious kidnapping of a Jewish child
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‘Good and evil are at war': how Satanic horror has returned to haunt the age of Trump
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The First Omen review – stylish horror prequel is damned by its franchise
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What’s so bad about a reboot? Beyoncé's cover of Jolene doesn’t dilute the original, it adds to it | Rebecca Shaw
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More than a contender: Marlon Brando’s greatest performances – ranked!
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How to Date Billy Walsh review – another offensively boring streaming-service mess
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‘This is more than a #MeToo drama’: Jez Butterworth on his new play – and punching Harvey Weinstein
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Warner Bros announces new Matrix movie helmed by Drew Goddard
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Kirsten Dunst says she ‘didn’t even think to ask’ about Hollywood’s gender pay gap
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On the Waterfront review – Marlon Brando’s wounded masculinity rains punches down
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Seize Them! review – revolting peasants make merry in medieval times
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Ken Loach speaks out in support of Jonathan Glazer’s ‘occupation’ Oscar speech
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Olivia Colman and Benedict Cumberbatch to star in War of the Roses remake
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Trevor Griffiths: Mancunian Marxist whose political plays deserve revival
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‘My sons hated it’ … Shakira says Barbie film is ‘emasculating’
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Io Capitano review – chilling indictment of the refugee exploitation economy
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The Trouble With Jessica review – Shirley Henderson leads satire on London liberals
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Yannick review – Quentin Dupieux goes for laughs in absurdist theatre hijack comedy
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Louis Gossett Jr obituary
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‘I have not been living in the Himalayas!’ The return of Spirit of the Beehive director Víctor Erice
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‘We shot it in the murder capital of the world’ … how we made The Lost Boys
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Til Death Do Us Part review – bride fights back in matrimonial revenge action flick
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We 12 review – Cantopop boy band Mirror turn super-skilled crime fighters
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Oscar-winning director Ryûsuke Hamaguchi: ‘The world is full of mystery and absurdity’
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Three Women review – intimate snapshot of rural Ukraine before the invasion
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The Human Surge 3 review – hopeful odyssey of globe-trotting twentysomethings
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The best theatre to stream this month: Jekyll & Hyde, Daniel Kitson’s Tree and more
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Mothers’ Instinct review – Anne Hathaway and Jessica Chastain feud in heavy-handed Hitchcockian thriller
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Godzilla x Kong: The New Empire review – another bout of monster stupidity
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Drift review – quietly mesmerising Greek island refugee tale
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Disco Boy review – Franz Rogowski adds another dimension to intense French Foreign Legion drama
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‘I was so angry’: the man who inspired Oscar-nominated film recalls epic journey from Ivory Coast to Italy
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Eddie Marsan: ‘Mitch Winehouse was a loving father whose daughter was an addict’
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