By Anton Bitel
Ted Post’s 1973 film The Baby takes the notion of the dysfunctional family to a whole other level.
By Anton Bitel
Teruo Ishii’s Horrors of Malformed Men contains one of cinema’s most straightforwardly stark raving villains.
By Anton Bitel
Akio Jissôji’s celebrated – and controversial – This Transient Life boldly challenges social convention.
By Anton Bitel
Umberto Lenzi’s Cannibal Ferox fully deserves its reputation as one of the genre’s toughest watches.
By Anton Bitel
Shot in a real abandoned asylum, Richard Friedman’s gore-fest shows a subgenre in microcosm.
By Anton Bitel
Resolution, from filmmaking duo Justin Benson and Aaron Moorhead, is a true original.
By Anton Bitel
The end of the world is just the beginning in Geoff Murphy’s The Quiet Earth from 1985.
By Anton Bitel
Third Window Films are releasing two Animerama series films from Astro Boy creator Osamu Tezuka.
By Anton Bitel
Marcin Wrona’s 2015 film Demon puts a modern twist on the Jewish legend of the dybbuk.
By Anton Bitel
David Cronenberg’s 1999 tech-thriller sees Jude Law and Jennifer Jason Leigh enter a strange VR world.
By Anton Bitel
An entrancing existential streak runs through Kiyoshi Kurosawa’s 1997 film, Cure.
By Anton Bitel
Mick Jackson’s BBC telemovie Threads imagines the devastating fallout of nuclear war.
By Anton Bitel
The writer/director’s idiosyncratic 1972 film Images is ripe for rediscovery.
By Anton Bitel
The French director’s 1968 La Prisonnière aka Woman in Chains is both compelling and perverse.
Read an exclusive extract of a long-lost conversation between these innovative French filmmakers.
By Anton Bitel
Made over 17 years, this unlikely series is among the indie writer/director’s finest achievements.
By Anton Bitel
John Grissmer’s Scalpel, about a psychopathic plastic surgeon, has been rescued from VHS obscurity.
Little White Lies was established in 2005 as a bi-monthly print magazine committed to championing great movies and the talented people who make them. Combining cutting-edge design, illustration and journalism, we’ve been described as being “at the vanguard of the independent publishing movement.” Our reviews feature a unique tripartite ranking system that captures the different aspects of the movie-going experience. We believe in Truth & Movies.
