From Larry Clarke’s Kids to Wes Anderson’s latest cinematic effort The Phoenician Scheme, via Martin Scorsese, Sofia Coppola and Todd Haynes, over the last three decades Randall Poster has imposed himself as cinema’s go-to man for all things music. If there’s a secret on how to turn a soundtrack into a timeless treasure in its own right, Randall knows it. We spoke to him to understand what Hollywood most listened to man drops his needle on and why.

The Brazilian DJ and producer talks about her relationship with cinema and the soundtracks that have shaped her sonic imagination.

The Italian-born London-based producer, songwriter and DJ opens up on her love for Italian forbidden cinema and how it shaped her life and artistry.

Red Light Disco curator Eli Roth speaks to Edwige Fenech, the face of 1970s and 1980s Italian softcore and giallo cinema, on the hunt for lost soundtracks.

In his collaboration with South Korean director Bong Joon-ho, Jung Jae-il has become the composer who best captures the critical issues of our contemporary society. Following his soundtracks for Okja, Parasite, and Squid Game, his work on Mickey 17, starring Robert Pattinson and now in cinema, further cements this status.

We interviewed the composer behind The Brutalist soundtrack, whose artistic courage and radical vision is rooted in an East London cafè, and football too.

The French actress and musician joined Philippe Sarde in studio to bring to life, fifty and counting years after its composition, a song written for Romy Schneider but never recorded.

From the villas of Gio Ponti and Nanda Vigo to Dario Argento’s beloved Art Deco and Liberty. The invention of the Italian way to horror cinema unfolds through design and architecture.

From hats to suits and, needless to say, through frames (both prescription and sunglasses), the actor has been the demiurge of a unique style that, 100 years from his birth, continues to establish him as an unmatched style icon, from Rome to the world.

Since the 1950s, the beach and the road have forged the archetype of an all-Italian way to comment on the myth of the holidays. Equally frantic and alienating, from Il sorpasso and Swept Away to Cario diario and Call Me By Your Name, soundtracks have been crucial in portraying these scenarios.

On the occasion of the 50th anniversary of the film (and the soundtrack by Piero Piccioni), we have collected five curiosities about Lina Wertmüller’s masterpiece. There are works that are often hastily defined as timeless, timeless masterpieces. And yet, films such as Travolti da un insolito destino nell’azzurro mare d’agosto (aka Swept Away) (1974) by […]

The actress, mistress and muse of Federico Fellini, was the inspiration behind one of the film’s most iconic characters. Yet she turned the part down at the last minute. We trace this story through archive ephemera and memories.

Casa Malaparte, the villa that belonged to writer, socialite and director Curzio Malaparte and that appeared in the film by Jean-Luc Godard has been chosen by Jacquemus for its 15th anniversary show.

Beautiful and damned, ruthless and whimsical, witches have long exerted their spell on popular culture. Discover their influence on cinema and its music.

The Italian director returns to Cannes with another ode to his city, where the portrait of its upper-class meets its most visceral folklore.

Whether stereotyped or self-celebrated, the subculture has left a trace in the history of Italian cinema. We look back to its legacy, from costumes to music.

The recently rediscovered vocal version by Florinda Bolkan of the Ennio Morricone’s classic is a sensual invitation to share the dinner table and perhaps more . 

From Ennio Morricone and Piero Piccioni to Bach and Vivaldi, soundtracks are a tool to better decipher the approach of the author and director to cinema and the meanings assigned to the seventh art.

What remains and what has changed in the way of experiencing the Milan derby more than forty years after Eccezzziunale…veramente. There was a time, at the beginning of the 1980s, when Italian cinema loved to tell tales of urban phenomena, with an eye halfway between blunt sociology and sharp cabaret gags. You had the Yuppies, […]

The 1973 Cannes Film Festival came at a peculiar time for France. Whereas on the other side of the Alps, neighbouring Italy was fine tuning its Molotov cocktails and getting ready for a crescendo of social tension and political violence, France seemed to have slipped back into calm.

On a February evening, a glass of wine in my hand, I found myself in good company. The conversation shifted to a very amiable, courteous, inimitable gentleman who has left us from quite some time now: Federico Fellini.