Uncut versions of classic movies to be screened to mark 100 years of the Board of Film Classification

A meat-processing worker mounts his bike in search of his pension; but the real story is that, although Gérard Depardieu has become porky, his career is still in good shape

As 'the country's greatest film-maker' is celebrated, Geoffrey Macnab asks why Nic Roeg and others can't get a movie made

Profile: François Truffaut - They were the Lennon and McCartney of French cinema. And then Jean-Luc Godard spurned his oldest friend

This year's Fashion in Film Festival is a paean to the power of costume on camera, says Laura McLean-Ferris, and a reminder of a truly ingenious cinematic age

My first inkling of the art demanded for the accompaniment of silent films came when I watched a young Carl Davis sit down at my piano and deliver a dazzling preview of his score for Abel Gance's five-hour epic, Napoleon. That was three decades ago, since when Davis's scores have become big business. Though his route has been orchestral, accompaniments on the piano are still provided for silent classics at the National Film Theatre. And the champion at that is the young classical pianist-composer Costas Fotopoulos, who has been providing the music for a clutch of rare Frank Capra movies at London's BFI Southbank, with the final one – Rain or Shine – due to be screened tomorrow.

It's a long way from Helensburgh to Hawaii. When you watch Deborah Kerr and Burt Lancaster in their celebrated clinch on the beach in From Here To Eternity ("nobody ever kissed me like you do!"), you realise just what an extraordinary metamorphosis Kerr underwent in the course of her movie career. The Scottish-born star (the subject of a retrospective at the BFI in partnership with The Independent during September and October) seemed in her early film career to be the most upstanding and "proper" of actresses. She had a shy and aloof quality.

Ray Harryhausen – the daddy of stop-motion animation – turns 90 next week. Tomorrow, BFI Southbank rounds off a month of screenings and events with a celebration hosted by the director John Landis. It is comforting to know that though computers dominate special-effects nowadays, his pioneering techniques are still admired.

As Tate Modern celebrates its 10th birthday, Ben Ross adds up the attractions of London's cultural hub

Paul Newman's sublime looks and air of geniality made it easy for him to charm audiences. But, as a season of the actor's films opens at the BFI in London, Geoffrey Macnab wonders whether the attributes that propelled him to stardom were also shackles that bound and limited him

As a season of forgotten British B-movies opens in London, Geoffrey Macnab welcomes the rehabilitation of a genre that trained dozens of our star actors, writers and directors

As programme director of the National Film Theatre and organiser of the London Film Festival for more than 15 years, the American Ken Wlaschin became a highly influential figure in British cinema.

As the BFI celebrates 20 years since the release of Spike Lee's seminal film with The Independent Interview and a season of movies on the Southbank, the director talks to Kaleem Aftab about race and retrospectives