Gaby Wood

Bait,​ Mark Jenkin’s first feature film, earned him the Bafta for best newcomer in 2020. Jenkin had been making short films for seventeen years by then. Most of them had been filmed with old cameras of one kind or another – super 8, 16 mm – and some had frames with rounded corners, which placed them somewhere between generations-old home movie and rediscovered newsreel...

In the Brazilian countryside, a man is driving in the wrong direction. It’s 1977, and he’s been on the road for three days. As his yellow Volkswagen Beetle pulls into a remote petrol station, we see what he is about to encounter: a dead body on the ground, crudely covered with cardboard.

Wagner Moura, playing the driver, clocks the body and attempts to reverse before the...

As​ a boy, the Romanian-born artist Avigdor Arikha spent part of the Second World War in a labour camp in western Ukraine, where he was given a small sketchbook and pencil by a sympathetic soldier. A German-speaking Jew, he had been deported with his family; his father had died on the way. The camp at Mogilev-Podolsky was in a destroyed Transnistrian foundry put to use by Siegfried...

In a sense, Lucian Freud wasn’t really a printmaker at all. He was a gambler. The appeal of etching was that it allowed him to leave a great deal to chance.

Jane Eyre, a series of large-scale lithographs made by Paula Rego in 2001, begins with two images based on the novel’s first scene. Girl Reading at Window is a more or less direct illustration of events, sequential moments laid out on a single page like a storyboard or graphic novel. Loving Bewick, the second image, is different. Its subject is what happens at that point in Jane’s...