Phil de Semlyen

In 2026, the UK’s coastline is more in the spotlight than it has been in a long, long time. The opening of the long-awaited King Charles III Coastal Path means that the entire coasts of England, Wales and Scotland are now fully walkable – giving you even more of a reason to visit this nation’s extraordinary roster of seaside towns. Of course, being an island nation, the UK has no shortage of coastal spots. Prim, proper, picture-postcard-worthy idylls? Check. Remote, blustery retreats from stormy seas?  Yep, plenty of that. Thrill-packed resort spots with something for everyone? Britain has all of the above and much more. If you’re on the hunt for British seaside towns that are worth checking out right now – the ones that should be on your radar specifically in 2026 – that’s what we’re here for. Time Out assembled our UK travel experts to pick out the country’s most exciting seaside, port, harbour and resort towns to visit this year. RECOMMENDED: 🏖️ The best beaches in the UK (and mapped).📍 The best places to visit in Britain in 2026.🇬🇧 The best new things to do in the UK in 2026. Time Out’s best seaside towns, mapped Image: Time Out

Whether you’re in one of the UK’s diverse, underrated cities, our picture-perfect seaside towns or anywhere in between, there’s always a museum to educate, explain, enlighten. Far from just places to hide from grim weather, Britain’s greatest museums tell stories, explore histories and get you fascinated by stuff you’d never previously spared a thought for. Here at Time Out, we are, obviously, huge museum nerds. You’ll find countless of the cultural institutions peppered throughout our UK city guides, whether that’s a mighty, storeyed national behemoth or an adorably niche local exhibition space. Even better, plenty of those museums are totally free to visit (and they remain so, despite suggestions of change). But which British museums are most essential to visit this year? Which ones are having a moment, basking in a refurb, putting on the most tantalising exhibitions? We’ve rounded up the most unmissable, all chosen by Time Out UK editors who’ve recently visited them. Before we get stuck in, a quick note. The vast majority of the list below is outside London, and that’s intentional. If you’re looking for stuff in the capital, we have an excellent guide to the city’s museums here. We’ve also steered clear of conventional art galleries – watch out for a dedicated upcoming guide. RECOMMENDED: 📍 The UK’s top places to visit in 2026.🎨 The UK’s best new things to do in 2026.🎵 The best music festivals in the UK. At Time Out, all of our travel guides are written by writers who k

Madfabulous. Not only the name of a new film this month but a great description for what’s arriving in our cinemas in June. An almost undefinable array of new big-screen offerings ranging from enormous to eclectic and arty, it kicks off with Charli xcx in Warsaw and ends with Supergirl and Krypto in space, with an emotional farewell to the Jackass crew, a new Steven Spielberg sci-fi and a joyful reunion with Buzz, Woody and the gang in Toy Story 5 along the way. To infinity and beyond? We’ll definitely be heading to the cinema to find out. Stay in the loop: sign up for our free ​Time Out ​f​ilm newsletter for the best of the ​b​ig screen and streaming​ every month. RECOMMENDED: 📽️ The best films of 2026 (so far)📺 The best TV and streaming shows of 2026 (so far)🏵️ The 100 greatest movies of all time

Are we still in the Golden Age of Television? Probably not. Since the end of Succession, it hasn’t felt like there’s been a major prestige series to grip the culture in a way similar to Breaking Bad, Mad Men et al. But it doesn’t mean there isn’t still great stuff to watch – stuff that, as they go along, could grow into one of those zeitgeist-gripping all-timers. In 2026, that includes the likes of HBO’s Industry, which has grown from cult fave to must-watch over four seasons, and The Pitt, still probably the best show currently on despite its, let’s say, fervent fanbase. And don’t forget Heated Rivalry, Bait and yet another Game of Thrones spinoff, A Knight of Seven Kingdoms. We’ve put off sleep and watched them all to determine the best TV of the year so far.  Recommended: 📽️ The best movies of 2026 (so far)🔥 The best TV and streaming shows of 2025📺 The 100 greatest TV shows of all time

With Obsession the latest smash-hit at the box office, the horror business is booming right now. Over the last few years, it’s become one of the movie industry’s most bankable genres, financially and creatively. Ryan Coogler has already made Oscar-nomination history with a vampire flick of all things, while the combination of Barbarian and Weapons has made director Zach Cregger one of Hollywood’s most exciting new voices – and that’s to say nothing of the huge box-office success of franchise entries like The Conjuring: Last Rites, Final Destination Bloodlines and Five Nights at Freddy’s 2. It’s shaping up to be another blue-ribbon year for the genre, with 28 Years Later: The Bone Temple, entertaining killer monkey ripper Primate, Sam Raimi’s Send Help and, of course, Curry Barker’s Obsession scoring big with critics and audiences alike. Here’s what has stood out like a bloody knife so far. 📽️ The best movies of 2026 (so far)🔥 The best TV and streaming shows of 2026 (so far)🧟 The 100 greatest horror movies ever made

Outdoor cinema season is up and running in the capital. There’s a summer of moonlit movies ahead in an array of scenic park, rooftop and riverside spots and the projectors will soon start whirring at Rooftop Cinema Club, Adventure Cinema and many others. On the slate for 2026 are the usual mix of crowdpleasers, cult classics and recent blockbuster hits. But expect some exciting new additions from the past 12 months, too, including Sinners, Wicked: For Good, One Battle After Another and Weapons, to Back to the Future, Jurassic Park, La La Land and all the old favourites. Recommended: 📽️ The 100 greatest cinemas in the world right now🎞️ The 25 best cinemas in London💰 London’s best cheap cinemas

Is it safe to say movies are back? Sure, there’s still plenty of anxiety around the film industry and its future. But cinematically speaking, 2026 has gotten off to, arguably, the most blazing hot start since the pre-pandemic glory days, both critically and at the box office.  Of course, for our purposes, we like to focus on the creative successes, and it’s rare for the first quarter of any year to produce so many achievements of various scopes and budgets. Any time you get both a Project Hail Mary and 28 Years Later: The Bone Temple – not to mention leftfield triumphs like The Testament of Ann Lee, Sirât and Little Amélie or the Character of Rain – all before the calendar’s halfway point, you know it’s a good time to be a film fan, especially when there are new spectacles from Christopher Nolan, Steven Spielberg, Marvel and the Dune franchise on the horizon.  But that’s later. Here’s the best of what we’ve seen so far.  📺 The best TV and streaming shows of 2026 (so far)📕 15 book-to-movie adaptations to get excited about in 2026🔥 The 40 best movies of 2025

Museums are one of the things that London does best. This city boasts grand institutions housing ancient treasures, modern monoliths packed with intriguing exhibits, and tiny rooms containing deeply niche collections – and lots of them are totally free to anyone who wants to come in and take a gander. And with more than 170 London museums to choose from, there's bound to be one to pique your interest, whatever you're in to.  Want to explore the history of TfL? We’ve got a museum for that. Rather learn about advertising? We’ve got a museum for that too. History? Check. Science? Check. 1940s cinema memorabilia, grotesque eighteenth-century surgical instruments, or perhaps a wall of 4,000 mouse skeletons? Check, check and check! Being the cultured metropolitans that we are, Time Out’s editors love nothing more than a wholesome afternoon spent gawping at Churchill’s baby rattle or some ancient Egyptian percussion instruments. In my case, the opportunity to live on the doorstep of some of the planet’s most iconic cultural institutions was a big reason why I moved here at the first chance I got, and I’ve racked up countless hours traipsing around display cases and deciphering needlessly verbose wall texts in the eleven years since. From iconic collections, brilliant curation and cutting-edge tech right down to nice loos, adequate signage and a decent place to grab a cuppa; my colleagues and I know exactly what we want from a museum, and we’ve put in a whole lot of time deliberating

Updates for 2026: Indisputably, the two most talked-about movies of 2025 were also among the best of the century. Ryan Coogler’s gangster-vampire-blues-musical-period-piece Sinners proved that original stories can still draw huge audiences, while One Battle After Another confirmed Paul Thomas Anderson as the brightest filmmaking mind of his generation. Movies entered the 21st century riding a high. It’s been argued – notably in Brian Raftery’s book ‘Best. Movie. Year. Ever: How 1999 Blew Up the Big Screen’ – that 1999 was, well, the best year for mainstream movies ever. And by and large, the films of the new millennium have kept that same energy. Sure, the combination of internet piracy, the rise of streaming, the pandemic, and ongoing corporate consolidation may have pushed movies out from the centre of the cultural conversation. But in terms of cinematic innovation, it’s hard to think of a more progressive two-decade span. Genres have become mixed, matched and broken down to create brand new forms of movie language, and more diverse stories are being told than ever before. Blockbusters have reached Godzilla-levels of hugeness, while small, strange indies have reached mass audiences that were once considered unattainable. If cinema in the 21st century has been defined by tumult, it’s also proven the ability of filmmakers to rise to the moment. These 100 movies represent the best of the quarter century so far. Written by David Fear, Joshua Rothkopf, Keith Uhlich, Stephen Gar

It’s not easy being a teen. The specifics change from generation to generation, but the struggle is universal: you’re perched between childhood and adulthood, trying to figure out the world and yourself, as your hormones rage and your peers are at their cruellest. So it’s no surprise that filmmakers continually return to their high-school years for inspiration – it’s at once the most dramatic and hilarious time in anyone’s life. Unsurprisingly, Netflix has a ton of movies exploring the trials, tribulations and emotional turbulence of adolescence. And it isn’t all awkward sex and overblown emotions – though there’s plenty of both, of course. On this list of the best teen movies currently streaming on Netflix, you’ll find good-natured romcoms, young-adult dramas, movies about superheroes, basketball, vampires and cheating on college entrance exams.  Recommended: 🧒 The 100 best teen movies of all-time🤣 The 100 best comedy movies👪 The best family movies on Netflix for all ages🤗 The best feelgood movies on Netflix

If you were lucky enough to grow up pre-Y2K, you would have likely known little about Korea beyond the conflict in the back pages of your school history book. But that all changed when, in the aftermath of the 1997 Asian financial crisis, the country doubled down on funding exportable pop culture in an attempt to rebrand the country on the world stage. The gambit, part designed to attract big business and tourism, was a wild success – and now we have K-Pop, K-dramas and kimchi pouring out of our ears. One of the biggest proponents of the ‘hallyu’ wave, though, has always been filmmaking – with Hollywood-style action blockbuster Shiri; brutal revenge thriller Oldboy; and Academy Awards triumph Parasite among the most resounding victories of a national cinema revitalised from the brink of anonymity. We simply can’t get enough of it today. And for good reason: South Korea is a goldmine of original ideas and storytelling talents who show no signs of taking their feet off the gas as the industry thrives. So why not huff on the metaphorical fumes? Our list of the best Korean movies of all time billows below.Recommended:🇫🇷 The 100 best French movies of all-time🇯🇵 The 50 best Japanese movies of all-time🇭🇰 The 100 best Hong Kong movies of all-time🇮🇹 The best Italian movies of all time: from Bicycle Thieves to The Great Beauty

Updates for 2026: It's not surprise that the Ryan Gosling-starring megahit Project Hail Mary has been added to our space movie canon — it's both a major-league blockbuster and an extraordinary piece of entertainment.  Space may be the final frontier, but filmmakers have been dreaming of it ever since the medium was invented. Indeed, even after humans made it there, cinema’s obsession with the universe beyond our small rock hasn’t abated, nor has interest from the general public – see the recent Artemis II mission, a rare moment of collective awe in a time of constant anger and unrest.  It’s not hard to understand why. Its infinite vastness is essentially a blank canvas on which to ponder all sorts of big ideas, whether it’s mankind’s place in the void, the human desire for exploration or the simple fear of the ultimate unknown. That’s why the ‘space movie’ deserves to be considered its own genre. Yes, many science-fiction movies are set in space. But not all movies about space are necessarily science fiction. Here are our picks for the 30 best movies that travel to infinity… and in many cases, beyond. Recommended: 👽 The 100 best science fiction movies of all-time😬 The 100 best thriller films of all-time💣 The 101 best action movies ever made🦄 The 50 best fantasy movies of all-time 

‘Victorian governesses can be psychopaths, too’ isn’t quite the radical spin on a period costume drama this off-kilter romp seems to think it is – after all, every other gothic novel seems to boast a deranged tutor you’d shepherd your bonnet-wearing offspring across a country lane to avoid. Still, Maika Monroe’s unhinged young educator Winifred Notty takes the trope into gory new terrain in critic-turned-director Zachary Wigon’s (Sanctuary) playful but punchless period horror.   Temporarily done with scream-queen duties after a pair of slam-dunk horrors in It Follows and Longlegs, Monroe now seems fully settled into her cuckoo-in-the-nest era. Unlike 2025’s remake of The Hand That Rocks the Cradle, there’s no pretending that Winifred is anything other than stark-raving mad when she arrives at the household of Jason Isaacs’ sleazy and sclerotic old buffer Mr Pound and his wife (Ruth Wilson) with a letter of recommendation and a trail of mysteriously disappeared families behind her. Their two children (Jacobi Jupe and Evie Templeton) are about to get an education they hadn’t bargained for.  As the on-the-nose title of screenwriter Virginia Feito’s source novel hints, you’re not getting the elegant filleting of aristocratic mores of a Peter Greenaway film here. Instead, it’s the slash-and-hack energy of a pulpy horror with a powdered wig on. That’s not to decry Victorian Psycho’s headrush pleasures, mostly delivered by the excellent Monroe – albeit boasting an accent of no fixed

Belgian filmmaker Lukas Dhont (Girl) brings his delicate, gauzy touch to the muddy hell of World War I with his third film, a gay love story about a young recruit who finds horror and hope in the trenches. It doesn’t hit the heights of Close, his quiet elegy to young friendship, but it’s another gently moving exploration of young men clutching onto their sense of self in traumatic circumstances. Inspired by a photo of a Great War soldier in women’s clothing, Dhont introduces his young Belgian recruit, Pierre (Emmanuel Macchia), to a troupe of performers led by the exuberant Francis (Valentin Campagne). The pair couldn’t be more dissimilar: a farmer so taciturn his comrades call him ‘Quiet Mouse’, and the flamboyant, livewire tailor’s son, who is assembling a theatrical performance behind the lines from the meagrest of elements: an old barn, some set decoration and a cast of support troops who call themselves the ‘band of rejects’. Love blossoms between them in snatched moments, captured with gentle grace by Dhont.  The strain of war is always there. With cinematographer Frank van den Eeden’s up-close camera slogging through the mud alongside Pierre, you can feel the brutalising effect of this blackened landscape – of lugging shells to the front and hauling bodies to mass graves. And you can sense how the corpse-burying truces in No Man’s Land might leave a man contemplating self-harm with a borrowed bayonet. The film sometimes moves like it’s wading through the Flanders mud,

Director László Nemes (Son of Saul) returns to World War II to force two real-life foes – French Resistance chief Jean Moulin and Nazi interrogator Klaus Barbie – into a grim dance macabre in this elegant and viscerally intense wartime thriller.  As with his 2016 Holocaust drama, the Hungarian filmmaker gets up close with a man trying to hold out against inescapable terrors. Moulin, codenamed ‘Max’, is the real-life head of the French Resistance. Charged with uniting a rival network of underground cells under the nose of the Gestapo, he parachutes into occupied France in 1943 and gets to work. Played by Gilles Lellouche, the Gauloise-puffing Moulin is straight out of a film noir. He meets his agents in cafés and coolly conveys his orders even as Nazi soldiers walk in. At a soirée, he captivates the beautiful French countess (Adèle Blanc-Sec’s Louise Bourgoin) who will unwittingly provide his cover as an interior designer. But before he can get to work wallpapering her apartment, the walls cave in. A member of the network has been picked up by the Nazis. How much has he spilled under interrogation? A covert meeting reveals the answer. Like Jean-Pierre Melville’s Resistance masterpiece Army of Shadows, a touchstone here, Nemes and his screenwriter Olivier Demangel dip into a world where liberty is tenuous, the risks are profound and not every Frenchman is on board with the cause. The first act plays out in that paranoid register. But the meat of the film happens inside the Gest

There’s a joy in watching a filmmaker returning to a place they know inside out. Every gesture, every local tradition, every character’s aspiration is shot through with local knowledge. Scorsese has it with Little Italy, Tarantino with LA, and James Gray definitely has it with Queens, the New York borough he grew up in and that he’s quietly immortalising on screen. Its low-rise streets, in the shadows of Manhattan’s bright lights, were the setting for his debut, Little Odessa (1994), and two subsequent crime dramas We Own the Night (2007) and The Yards (2012). And it’s the backdrop for an unshowy but enthralling late ’80s parable of aspiration gone wrong that reunites Marriage Story duo Adam Driver and Scarlett Johansson to great effect.   Johansson is Hester Pearl, the warm-hearted matriarch of a middle-class Jewish family in one of the borough’s leafy streets. Her husband, Irwin (Miles Teller), is an engineer for whom geeky enthusiasm is a default setting. Cooing relatives would probably refer to their two children, 18-year-old Scott (Gavin Goudey), off to college in the spring, and his doting younger brother Ben (Roman Engel), as ‘polite young men’. Irwin, though, is fretting about the tuition fees, especially with Hester also angling for a new home among the swimming pools and lawns of Long Island. Into this happy but pressured dynamic steps Driver’s older brother Gary Pearl, an ex-cop with the gift of the gab and an unmissable business opportunity for Irwin. Turning up a

History shows than invasions invariably lead to massive population flights – though it’s not usually the invading country’s population doing the fleeing. In 2022, Putin’s assault on Ukraine led to an exodus of conscription-age Russians, heading overseas to avoid dying in the Donbas, and exposing the kind of social fault line that dissident director Andrey Zvyagintsev loves to chip away at with his austere cross-examinations of modern Russia. This existential moment is more of a business quandary for the man at the heart of Minotaur, a marital drama that evolves into a metronomic and mesmerising thriller that flickers with moments of mordant satire (there are laughs, honestly). Logistics CEO Gleb (Dmitriy Mazurov), suddenly left with several roles to fill, is summoned to a meeting with the mayor where he discover that he and his fellow business leaders also have to offer some of their employees up for military service in Ukraine. It’s a Dostoyevskian predicament that Gleb deals with like the capitalist he is: he fabricates a clutch of new roles at the company and promptly puts the entire intake on the conscription list. The only employee he wants to save from military service is his head of security, who has been spying on his unfaithful wife Galina (Iris Lebedeva) for him – and he’s not in much of a hurry to do even that. It’s at this point, with the introduction of Galina’s lover, a handsome photographer closer to her age, that the film spirals off in a dark new direction. Z

No one is pining for the fjords by the end of this slow-boiling cauldron of a moral drama. Shot with a subdued palette and set in a small waterside community in rural Norway, Cristian Mungiu’s (4 Months, 3 Weeks and 2 Days) film has Renate Reinsve and unrecognisable Marvel star Sebastian Stan as a Norwegian mum and her Romanian engineer husband, who discover that the warm welcome of their new home town doesn’t extend past a slice or two of cake and a tour of the high school. Mungiu quickly sets up his inciting incident: Lisbet (Reinsve) and Mihai Gheorghiu’s (Stan) teenage daughter Elia (Vanessa Ceban), one of their five children, is spotted with unexplained bruises by her new teacher. Worried these were inflicted by her parents’ corporal punishment, the teacher reports this to the local child protection agency. It escalates when Elia admits that her dad has ‘slapped’ them. And he has – albeit without velocity. Mihai is a stern but loving dad guided by his family’s strict faith. The old ‘spare the rod, spoil the child’ ideology is intact in his culture, but in his new homeland, it’s a crime. The stakes are existential: prison and the loss of their kids. Even their next-door neighbours, the school’s pompous headmaster and his sympathetic lawyer wife, initially so welcoming, back away. Only their own tearaway teenager Noora (Henrikke Lund-Olsen) stands by the family, and especially Elia, on whom she harbours a crush. That, in turn, will come to inform the homophobic Mihai’s dec

  div]:bg-bg-000/50 [&_pre>div]:border-0.5 [&_pre>div]:border-border-400 [&_.ignore-pre-bg>div]:bg-transparent [&_.standard-markdown_:is(p,blockquote,h1,h2,h3,h4,h5,h6)]:pl-2 [&_.standard-markdown_:is(p,blockquote,ul,ol,h1,h2,h3,h4,h5,h6)]:pr-8 [&_.progressive-markdown_:is(p,blockquote,h1,h2,h3,h4,h5,h6)]:pl-2 [&_.progressive-markdown_:is(p,blockquote,ul,ol,h1,h2,h3,h4,h5,h6)]:pr-8"> _*]:min-w-0 gap-3 standard-markdown"> L'histoire montre que les invasions entraînent invariablement de massives fuites de populations – même si ce n'est généralement pas la population du pays envahisseur qui fuit. En 2022, l'assaut de Poutine contre l'Ukraine a provoqué l'exode de Russes en âge d'être mobilisés, partis à l'étranger pour éviter de mourir dans le Donbass, révélant ainsi le type de fracture sociale que le réalisateur dissident Andreï Zviaguintsev aime creuser dans ses austères radiographies de la Russie contemporaine. Ce moment existentiel se résume davantage à un casse-tête commercial pour le protagoniste de Minotaure, un drame conjugal qui évolue en thriller métronomique et envoûtant, traversé d'éclairs de satire mordante (il y a des moments drôles, promis). Gleb (Dmitriy Mazurov), PDG d'une entreprise de logistique, se retrouve soudainement avec plusieurs postes à pourvoir et est convoqué à une réunion avec le maire, où il apprend que lui et ses homologues chefs d'entreprise doivent également fournir certains de leurs employés pour le service militaire en Ukraine. Un dilemm

With his hedgehog of grey hair, primary coloured knits, and love of the chic and the feng-shui’ed, the writer-director in Pedro Almodóvar’s piquant and boldly meta two-timeline tragicomedy could easily be called ‘Pedro’ instead of Raul. Played by Argentinian actor Leonardo Sbaraglia (Wild Tales), Raul is Almodóvar channelling himself through the harshest of lenses. ‘The film where I’ve been cruellest with myself’ is how he’s described it. He’s right. It’s brutal. It’s 2026. Raul is a veteran filmmaker grinding away at his first screenplay in several years, weighing up the twin golden handshakes of an invite to a Qatari film festival and a possible Netflix deal. A diva consumed with his own creative struggle, he’s become vampiric in pursuit of inspiration, sinking his teeth into the lives of those around him. Long-time assistant Monica (Parallel Mothers’ Aitana Sánchez-Gijón), is departing his service to care for her partner who has just lost a child, and loyal younger boyfriend Santi (Quim Gutiérrez), is picking up the slack. Both are grist to the mill for a melodrama called ‘Bitter Christmas’ set 22 years earlier. Like Almodóvar’s answer to Charlie Kaufman autofiction Adaptation, half of the film is set within that film. Here, it’s 2004 and Elsa (Bárbara Lennie) is a pill-popping commercials director searching for inspiration for a return to filmmaking. Beset with migraines, she’s looked after by hunky but vacant young boyfriend (Patrick Criado), a fireman who moonlights as

A slow-burn body swap mystery that made me want to body swap with someone who wasn’t in the cinema, Arthur Harari’s self-serious film has Léa Seydoux’s mysterious Parisian Eva and depressed photographer David Zimmerman (Niels Schneider) exchanging bodies after a club-night shag. Purportedly an investigation into sex, identity and gender, it drags through further improbable plot developments to a melodramatic climax that elicits little more than a shrug.Harari makes up one half of French cinema’s new power couple with Anatomy of a Fall director Justine Triet, and he co-wrote that tantalising thriller. Here, he teams up with screenwriters Lucas Harari and Vincent Poymiro, although it’s not clear why it took three screenwriters to pull together such daft scenes as Eva-as-David types ‘transmigration after sex’ into a search engine as they try to figure out what the hell has happened to them. Obviously, you would turn to Google or ChatGPT if you suddenly woke up in a different body, but it’s still a glaring motif for The Unknown’s literalist approach to communicating what this bizarre metaphysical experience is like. As Eva and David draw closer in their attempts to unpick the mystery, another young woman, Malia (Lilith Grasmug), is drawn into this Gordian knot. Some other entity – perhaps a distant French cousin of the malignant force in It Follows? – is at work within them.Seydoux brings a repressed strain of her usual charisma, but the performances mostly unfold at the same sop

Clio Barnard’s (The Arbor) bruising new drama is a picture of modern England seen through the eyes of five Brummie friends. It’s uplifting to see a piece of British cinema so attuned to the hopes and attitudes of young Brits, a grainy, 16mm snapshot of society firmly in the lineage of Shane Meadows, Andrea Arnold, Ken Loah, Tony Richardson et al, and played out by a clutch of gifted actors. Like Rocco and His Brothers with a Bromwich burr, it’s the story of a tight-knit friendship group swimming against the economic tide. Barnard and screenwriter Enda Walsh (Disco Pigs, Small Things like These) crystallise the challenges of modern life, with its struggling families, unmet aspirations and property ladders with no rungs. The Irish playwright has streamlined Birmingham poet Keiran Goddard’s multi-perspective novel into an ensemble drama with boundless love for its characters, if not always quite enough room. We enter this un-levelled up cityscape through the pub doors: childhood sweethearts Patrick (Anthony Boyle) and Shiv (Lola Petticrew), new dad and building site foreman Conor (Daryl McCormack), and wealthy charmer Rian (Joe Cole) are out celebrating their hard-partying mate Oli’s (Jay Lycurgo) 30th. Shots are necked, bumps of coke snorted and the room filled with decades’ worth of love and goodwill. The Streets’ 2002 anthem ‘Don’t Mug Yourself’ blasts out of the speakers, a throwback to a more hopeful kind of hedonism.  Here, though, booze and drugs represent something darke

When you hit the Oxfordshire town of Woodstock, with its grand 18th century palace, smart boutiques, grand Georgian pubs and general air of somewhere you should never just drive straight through… keep going. Sounds counter-intuitive, sure, but a short drive further through this corner of the country between Oxford and the Cotswolds and over the River Glyme will land you in the postcard village of Wootton and, crucially, at The Killingworth Castle. A pretty and beautifully located gastropub with fields stretching beyond it, ‘The Killy’ is a proper then-and-now story. It first opened in 1637 as a staging post for riders heading to and from London, and was cobwebbed and derelict when husband-and-wife team Jim and Claire Alexander took it over in 2012. The subsequent painstaking refurb has encompassed an extension for the smart but snug restaurant and the old stables being converted into eight elegant bedrooms. No one comes by horse anymore – and highwaymen are less of a problem – but the same principles remain: it’s a country getaway in reach of London and a couple of miles from all those Woodstock sights – Blenheim included, of course. You’ll be following Winston Churchill’s lead, because this part of the world’s most famous local used to putter over from the palace in his car for a pint or two back in the day.  What are the rooms like at The Killingworth Castle? Rustic snugness and exposed stonework abound in the eight bedrooms located in the old stables across the neatly land

There’s nothing worse than watching your favourite new movie start to fall apart before your eyes. Especially if the filmmaker responsible has bone fides as strong as The Wailing’s Na Hong-jin, and the cast offers the off-the-wall prospect of Michael Fassbender and Alicia Vikander popping up in a K-horror epic.  Because for a solid hour, the man behind that superlative 2016 supernatural horror, is playing another blinder. We’re back in remote South Korea somewhere near the DMZ, where signs warn people to ‘beware of spies’ and paranoia comes with the territory. Except, it’s not spies to beware of but whatever is ripping chunks out of the local cattle and reducing the place to rubble. Welcome to the small harbour town of Hope (pop: mostly dead).  In the spirit of all good creature features, Na keeps his monster under wraps for the entire opening reel. Instead, we follow tough-talking cop Bum-seok (Hwang Jung-min) and no-nonsense local Sung-ki (Zo In-sung) as they head off in different directions to find out what’s been tearing the town apart. The set design is terrific. Bum-seok and his revolving cast of reluctant sidekicks tiptoe through the guts of shredded buildings and down dank alleys, while explosions billow in the near distance and cars are hurled over buildings. The introduction of a young deputy, Jung Ho-yeon (Jung Ho-yeon), complete with a cop car’s worth of heavy weaponry, is midnight-movie heaven. For a solid hour or so, Na Hong-jin plays a blinder As they’re getti

Netflix’s hit show The Four Seasons is back with more relatable friendship dramas,, midlife woes and sunny travel inspo for The White Lotus deprived.  Season 2 picks up with the gang of pals – Kate and Jack (Tina Fey and Will Forte), Danny and Claude (Colman Domingo and Marco Calvani), Anne (Kerri Kenney-Silver), and Ginny (Erika Henningsen) – in a state of collective grief after the death of Nick (Steve Carell) at the end of the first season. Set, once again, across four seasons and accompanied by Vivaldi’s famous violin concerti, season 2 returns to some of the friends’ old haunts, including New York’s Catskill Mountains, but it also takes in the sights of a picturesque Alpine town and a beach holiday closer to home. These are the Italy, US and Puerto Rican locations to look out for across the two seasons.  Photograph: NetflixKerri Kenney-Silver as Anne, Marco Calvani as Claude, and Colman Domingo as Danny Where was The Four Seasons season 2 filmed? The Catskills motel  On screen: The Midnight Ramble motel, Catskills (episodes 1-2)In reality: Blue Fox Motel, Narrowsburg, NY The grieving friends check into The Midnight Ramble motel as they congregate to scatter Nick’s ashes at his favourite Catskills lookout. The spot doesn’t instantly wow them (‘Zero Yelp reviews and the amenities are toilet,’ notes Danny. ‘But they do accept cryptocurrency,’ says Kate). The popular midcentury Blue Fox Motel was redressed to stand in for this more down-at-heel hostelry in the Netflix show

It’s back! The first year of SXSW London went so smoothly that the Austin, Texas-founded event has returned for a sophomore edition. SXSW return to the Big Smoke was confirmed last September, while the bulk of its music and film lineups were revealed in April. SXSW London 2026 will feature more than 800 speakers, 200 music performances and 100 film screenings. Across six days venues in Shoreditch will host everyone from Ant and Dec and Pete Tong to Michelle Obama, with guests discussing a range of topics including human lifespans, creativity in the age of algorithms and, obviously, this era’s big thing: AI. The sheer number of events at SXSW is pretty daunting – which is where we come in. Time Out is an official media partner for SXSW London 2026, so we’ve got the lowdown on who to see at this year’s event. Here are nine things ­– three films, gigs and talks – that are most unmissable on June 1-6. RECOMMENDED: SXSW London 2026: tickets, lineup, timings and everything you need to know. The best things to see at SXSW London 2026 Film  Chosen by Phil de Semlyen. The second SXSW London film programme delivers another provocative, edgy and enticing array of movies, shorts and talks from the UK offshoot of the Austin arts fest. You’ll find new films and new voices in its line-up, as well as a few old favourites showcasing their latest big-screen offerings. There are three world premieres and 13 UK premieres at the festival – but plenty to look out for across the programme. Here’s t

Football fans should put aside thoughts of relegation battles, league trophies and spies in training ground bushes for an hour this weekend and let Dear England take them on a journey back to the oh-so-nearly days of England’s young football team and its inspirational manager Gareth Southgate (Joseph Fiennes). The new four-part BBC drama is adapted from Jamie Graham’s acclaimed 2023 National Theatre play about how the one-time Middlesbrough manager took over as England manager in the wake of Sam Allardyce’s sacking, overcame a nation’s reservations and transformed its football team. ‘The play is about so much more than just football,’ Dear England producer Tina Pawlik tells Time Out. ‘It's about the pressure we put on these young sportsmen, [who are] carrying the dreams of the nation. It's a really important story, and it ties in beautifully with this summer’s World Cup. It’s a real opportunity to keep the conversation fresh about how we support people.’  Photograph: BBC/Left BankDaniel Ryan as Steve Holland, Sam Spruell as Mike Webster and Joseph Fiennes as Gareth Southgate What is Dear England about? Directed by Rupert Goold (Judy), and named after the letter Southgate wrote to the country ahead of Euro 2021, it opens with a young Southgate’s harrowing penalty miss at Euro 96, a memory that still haunts him as he channels his own experiences into creating a healthier culture for the England team. He recruits sports psychologist Pippa Grange (Jodie Whittaker) to help chang

2026年のカンヌでは、ハリウッド勢がやや存在感を欠いているようだ。開催中の世界で最も有名な映画祭「カンヌ国際映画祭」に、超大作級のハリウッド作品は一本も姿を見せていない。 とはいえ、この映画祭はもともと、世界各地のインディペンデント映画の健全さを映し出す、格好のバロメーターでもある。そして昨年のラインアップを見れば、その活気は今も健在だ。 『センチメンタル・バリュー』『SIRAT シラート』『シンプル・アクシデント／偶然』『落下音』『シークレット・エージェント』は、カンヌでプレミア上映された作品のほんの一部に過ぎない。しかし、いずれも観客を魅了し、数カ月後にはアカデミー賞レースを巡る議論の中心となった。 今年は、『哭声／コクソン』のナ・ホンジン、『ドライブ・マイ・カー』の濱口竜介、『エリザベート 1878』のマリー・クロイツァー、そしてイランの名匠アスガル・ファルハーディーらが新作を携えてカンヌ入りしている。ここでは、出品作の中から見逃せない10本を紹介する。 Photograph: CannesThe Dreamed Adventure 『The Dreamed Adventure（英題）』 監督：ヴァレスカ・グリーゼバッハ ドイツ人映画監督のヴァレスカ・グリーゼバッハが、『ウェスタン』で高い評価を集めた、あの禁欲的でじっくりとした演出スタイルとともに帰ってくる。舞台は、ブルガリア、ギリシャ、トルコが交わる霞んだ国境地帯。ある女性が旧知の人物を助けることに同意したことをきっかけに、彼女はゆっくりと、そして後戻りできない形で、道徳的に曖昧な領域へと引き込まれていく。 出演者にはプロではない俳優を起用。風景そのものが登場人物のような存在感を放ち、多くの映画で脚本が担う役割を、ここでは沈黙が雄弁に引き受ける。筋立てはスリラーでありながら、語り口はどこまでも詩的だ。 Photograph: Cannes Film FestivalGentle Monster 『Gentle Monster（原題）』 監督：マリー・クロイツァー マリー・クロイツァーの『エリザベート 1878』は、時代劇でありながら驚くほど現代的な感覚を備え、フェミニズム映画の新たな古典として高く評価された。だからこそ、フランス映画界を代表する俳優であるレア・セドゥとカトリーヌ・ドヌーヴを主演に迎えた今作には、大きな期待が集まっている。 描かれるのは、まったく異なる人生を歩む二人の女性。そんな彼女たちに共通するのは、秘密を抱え、それを明かしたがらない男たちの存在だ。ルーシーは田舎で新たな人生を始めるためにキャリアを犠牲にしたピアニストで、エルサは衰えていく父を前に燃え尽きそうになっている刑事。そんな彼女たちを結びつけるのは、じわじわと忍び寄る、恐ろしくも逃れがたい真実なのだ。 Photograph: NeonHope 『Hope（英題）』 監督：ナ・ホンジン コンペティション部門でも屈指の注目作とされる『Hope』は、ナ・ホンジンの待望の復帰作だ。『哭声／コクソン』によって、独自の映像世界を持つ映画作家としての評価を決定づけてから10年。ついに、その新作が姿を現す。 舞台は、韓国の非武装地帯近くにある人里離れた海辺の村。トラの目撃情報をきっかけに始まった警察の捜査は、やがて地球外生命体をめぐる領域へと迷い込んでいく。 どこかエドガー・ライト作品を思わせる設定だが、映像を手がけるのは『パラサイト 半地下の家族』の撮影監督であるホン・ギョンピョ。恐らく冗談めかすことなく、大真面

London’s historic Curzon Chelsea is reopening this autumn – and here’s a first look at what to expect from the brand new King’s Road venue. Curzon’s new flagship venue is part of a redevelopment that has left the Art Deco façade intact but reimagined the 20,000 sq ft cinema beneath it as ‘a multi-purpose environment for the wider creative community’. Alongside the 300-seat main auditorium, the venue will boast a space for big gatherings and live programming, two studio spaces for podcasts, writers’ rooms and ‘experimental screenings’, a video and audio recording studio, and a bar, café and creative special space. Originally opened at the Gaumont Palace in 1934, Curzon Chelsea was shuttered in 2018 and demolished a year later. Photograph: CurzonThe Atrium at Curzon Chelsea The new venue, says Curzon CEO Philip Knatchbull, will be a place ‘where audiences can move fluidly between formats – film, audio and live events – for a truly immersive experience.’ He adds that Curzon Chelsea is designed ‘to support a generation of creatives whose work spans platforms, from film to audio, digital content and live formats’. ‘We’re excited to return to such an historic location with a new flagship that will actively promote the creation and exhibition of the very best of British and international art and culture.’ Photograph: CurzonThe Pod at Curzon Chelsea Curzon Chelsea is designed by Takero Shimazaki Architects, the designers of Curzon Bloomsbury and Curzon Camden.  The new-look Curz

Outdoor cinemas is back at the Barbican this summer. Hosted in the brutalist landmark’s Sculpture Court, Barbican’s summer season runs from Wednesday August 19 to Sunday August 30. On the year’s line-up is a kaleidoscopic array of films and filmmaking styles, ranging from Spike Lee concert docs to Denis Villeneuve science fiction, via the French New Wave and the best of Iranian cinema.  US indie cinema is spotlighted via Desperately Seeking Susan and The Florida Project, alongside a kaiju classic and a recent anime treat from Makoto Shinkai, Weathering With You. For Londoners, there’s a rare chance to catch 1996 coming-of-age classic Beautiful Thing, an LGBTQ+ drama filmed in Thamesmead and Greenwich, under the stars.Something for everyone, in other words, and plenty of opportunities to add some classics to your Letterboxd list. Tickets go on sale from the box office to Barbican members at 10am on Wednesday May 13, and to the general public at 10am on May 14. Standard tickets are priced £20, with concessions at £18, Barbican members £16.50, and under-18s only a tenner.  Here’s the line-up in full: Arrival (2016)Wed Aug 19, 8.30pm David Byrne’s American Utopia (2020)Sun Aug 30, 8.30pm  Offside (2006) Thu Aug 20, 8.30pm Atlantics (2019) Fri Aug 21, 8.30pm  Weathering With You (2019)Sat Aug 22, 8.30pmGhidorah, the Three-Headed Monster (1964) + recorded intro by Kaiju expert Steven Sloss  Sun Aug 23, 8.30pm  The Florida Project (2017)Tue Aug 25, 8.30pm  Pierrot le Fou (1965) Wed

Hollywood a fait l'impasse sur le Cannes de cette année : aucun de ses blockbusters ne foule le tapis rouge du festival le plus célèbre du monde cette semaine. Mais ne vous y trompez pas : le festival a toujours été un meilleur baromètre de la santé du cinéma indépendant à l'échelle planétaire, et à en juger par la sélection de l'an dernier, son pouls bat encore fort. Sentimental Value, Sirât, It Was Just an Accident, Sound of Falling et The Secret Agent ne sont que quelques-unes des premières cannoises qui ont émerveillé les spectateurs et dominé la course aux Oscars des mois plus tard. Durant les 12 prochains jours, attendez-vous à ce que Na Hong-jin (The Wailing), Ryusuke Hamaguchi (Drive My Car), Marie Kreutzer (Corsage) et le maestro iranien Asghar Farhadi livrent de l'or sur la Croisette. Voici ce qu'il faut surveiller. L'Aventure rêvée, de Valeska Grisebach La cinéaste allemande revient avec la patience austère qui avait fait sensation avec Western. Aux confins brumeux où se rejoignent la Bulgarie, la Grèce et la Turquie, une femme accepte d'aider une vieille connaissance – un geste anodin qui l'entraîne, lentement et inexorablement, en territoire moral trouble. Attendez-vous à des acteurs non professionnels, un paysage élevé au rang de personnage, et des silences qui en disent plus long que bien des scénarios. Un thriller dans les prémices ; de la poésie dans les faits. Gentle Monster, de Marie Kreutzer Corsage de Marie Kreutzer, film d'époque qui respirait une mode

Hollywood has taken a pass on this year’s Cannes, with none of its big-beast blockbusters making their bow at the world’s most famous film festival this week. Make no mistake, though, the fest has always been a better barometer for the health of independent cinema from around the planet – and judging by last year’s line-up, its pulse is still beating strongly. Sentimental Value, Sirât, It Was Just an Accident, Sound of Falling and The Secret Agent were just a few of the Cannes premieres that were wowing moviegoers and dominating the Oscars conversation months later. For the next 12 days, expect the likes of The Wailing’s Na Hong-Jin, Drive My Car’s Ryusuke Hamaguchi, Corsage director Marie Kreutzer and Iranian maestro Asghar Farhadi to deliver gold on the Croisette. Here’s what to look out for. Photograph: Cannes The Dreamed Adventure Director: Valeska Grisebach German filmmaker Grisebach returns with the austere patience that made Western a sensation. Set in the hazy borderlands where Bulgaria, Greece and Turkey converge, a woman agrees to help an old acquaintance – a simple act that pulls her, slowly and irrevocably, into morally murky territory. Expect non-professional performers, landscape as character, and silences that do more heavy lifting than most scripts. Thriller in premise; poetry in practice.  Photograph: Cannes Film Festival Gentle Monster Director: Marie Kreutzer Marie Kreutzer's Corsage, a period film that felt completely modern, is a feminist classic. So

A new Oasis documentary is coming to the cinema screens – including IMAX ones – this September. The handiwork of Peaky Blinders creator Steven Knight, the so-far untitled Oasis film will be out in cinemas on September 11, prior to streaming on Hulu and Disney+ later in 2026.  The doc will feature unprecedented access to the band and never-before-seen footage in an ‘intimate story of reconciliation, the power of music, and Oasis’. Expect that footage to include rehearsals, backstage clips and onstage access, as well as the first joint interviews with Noel and Liam in over 25 years.  Created by Knight, the film will be directed by Dylan Southern and Will Lovelace, the duo behind Meet Me in the Bathroom and LCD Soundsystem concert doc Shut Up and Play the Hits. ‘The feature documentary charts Liam and Noel Gallagher’s triumphant reunion tour Oasis Live ’25, one of the most anticipated rock ‘n’ roll comebacks of our time,’ runs the synopsis. ‘The film is an unapologetically uplifting account of arguably the biggest musical event of 2025, capturing the experience and emotions of the band and their fans across the world… Alongside the band’s sold-out world tour, the film also explores the profound emotional impact of this phenomenal global cultural moment and what their music means to audiences and generations worldwide.’  ‘I genuinely cannot wait for the world to see this film,’ adds Knight. ‘I believe it captures the spirit and emotion of a global cultural moment and does justice

Wes Anderson may not have a movie out this year but cinema’s arch stylist is still having a moment in his home-from-home. London’s Design Museum is hosting a big exhibition until July – Wes Anderson: The Archives – and W Hotel has teamed up with the venue for a special screening season this month. The Leicester Square hotel is putting on weekly movie screenings every Saturday. Extra Wes-world immersion is provided via a cocktail menu created in collaboration with Anderson’s graphic designer Annie Atkins.The programme in full: The Grand Budapest Hotel – 7pm, Saturday May 9Fantastic Mr. Fox – 7pm, Saturday May 16Moonrise Kingdom – 7pm, Saturday May 23The Darjeeling Limited – 7pm, Saturday May 30 There’s also a May 13 launch event that’ll feature Atkins and the Design Museum’s chief curator Johanna Agerman Ross chatting about the visual storytelling and props behind Anderson’s movies. Tickets are £25 and include a cocktail and access to a W Film  The cocktails are inspired by Anderson’s films, including ‘the Bellboy’ (Cognac, Cointreau, peach liqueur, elderflower, lemon and Champagne) and ‘The Detective’ (Amaretto Disaronno, Antica Formula, sour cherry and chocolate bitters). Tickets start from £10 for film and popcorn, or £19 with a cocktail. Head to the official site for the programme info and to book tickets. Photograph: W Hotel For anyone who really wants to push the Belafonte out, the W also has a Wes-tastic ‘Director’s Route Suite Package’ on offer. Included is a two-nig

Eikö olekin ihanaa, kun asiat menevät paremmin kuin uskalsi kuvitellakaan? Paholainen pukeutuu Pradaan 2 (The Devil Wears Prada 2) on juuri sellainen iloinen yllätys. Se on jatko-osa parhaasta päästä, tehty rakkaudella ja toteutettu tyylillä. Se on kuin Top Gun: Maverick, mutta tyylikkäämmillä hatuilla. Kaikki loksahtaa kohdalleen yhtä sulavasti kuin Hermès-laukun solki. Elokuvassa on tallella vuoden 2006 alkuperäisteoksen sähäkkyys ja energia, mutta ilman laiskaa toistoa ja väkinäistä fanien kosiskelua, jotka yleensä turmelevat tämän tyyppiset uudelleen lämmittelyt (Tron, Ghostbusters ja lukemattomat Halloween-elokuvat). Tarina löytää tuoretta tarttumapintaa myöhäiskapitalismin, teknologiaveljien ja tekoälymoskan aikakaudesta. Kyseessä on siis pohjimmiltaan kauhuelokuva nykyajan journalisteille. Samalla se kuitenkin kurottaa deadlineja ja helmanpituuksia pidemmälle muistuttaen sellaisista perin analogisista käsitteistä kuin taide, kauneus ja aitous. Kaksikymmentä vuotta sen jälkeen, kun Andy Sachs (Anne Hathaway) marssi ulos toimituksesta, kaikki on muuttumassa Runwayssa – eikä suinkaan parempaan suuntaan. Halpamuotia käsitellyt juttu on epähuomiossa tullut kaunistelleeksi hikipajaa, ja nyt Miranda Priestly (Meryl Streep) joutuu someraivon ja maalittamisen kohteeksi samalla, kun uusi iso pomo (upean limainen B.J. Novak) vaatii kovempia tuloksia. Mikä pahinta, Mirandan on nyt kohdattava talouspuolen ihmisiä henkilöstöruokalassa ja keskusteltava budjetista. Andy on puolestaan

The Devil Wears Prada is back to glow up New York City afresh, while extending its catwalk-ready touch to Milan and Lake Como for good measure too. The sequel reunites colleagues/rivals/frenemies Miranda Priestly (Meryl Streep), Andy Sachs (Anne Hathaway), Nigel Kipling (Stanley Tucci) and Emily Charlton (Emily Blunt) in a fabulously glossy yarn that will refamiliari​ze us within the sights and sounds of the fashion and publishing worlds.  Not on the list? The returning locations from the first movie, including Miranda’s Upper East Side townhouse (129 East 73rd Street) with its forbidden second floor, and midtown’s McGraw-Hill Building which doubles as Elias-Clarke Publications’ HQ, and Newark Airport, which features along the way but is no one’s idea of a day trip. Instead, grab your Gucci sunnies and take a tour of the new additions to the world of Runway – with some handy Time Out travel tips along the way. Where was The Devil Wears Prada 2 filmed? Photograph: Sokor Space / ShutterstockAmerican Museum of Natural History The Runway fashion gala was filmed at the American Museum of Natural History One of New York’s best family outings is transformed into a camera-ready venue for The Devil Wears Prada 2’s opening Runway Gala. The AMNH also provides Night At The Museum with its exterior shots. 📌 Our verdict on the American Museum of Natural History.  Photograph: TheStewartofNY/GC Images/Getty ImagesAnne Hathaway (L) and Meryl Streep are seen filming "The Devil Wears Prada