LITTLE WHITE LIES MAGAZINE: Truth and films six times a year

By Teresa de Andrés. February 27, 2013

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There was a time when I wanted to devote my life to film. At least that’s what I thought while tirelessly studying film theory, hypertextuality, linguistics, semiotics, psychoanalysis and cine-eyes. I wrote about film, read about film and watched film until my eyes bled. It wasn’t until later that I forgot about all those papers and just took an interest in the screen. Only very rarely would I come across a text that made me go back home, set the computer aside and angle my head down towards the table where there would always be a messy pile of a few magazines from decades gone by.

After all, film is there to be seen.

One day, to my surprise, Little White Lies arrived – and that’s the truth. It really did come as a surprise and it was here to stay. I devoured the texts, photographs and colour illustrations in this bi-monthly marvel published by creative agency The Church of London. Just one second under its cover is enough to realise that these people like what they do and do it well. Each issue –half monographical, half film review– is crowned with an illustrated portrait of one of the characters in the film to which the first two sections of the magazine are dedicated. The last section –the third or fourth act– is a succession of reviews that culminate in one of the most logical and direct scoring systems I have ever encountered. Three points that correspond to the before, during and after of a film: what our expectations were before it started, how much we enjoyed watching it and how we remember it when it fades to black.

For those who don’t know it yet, Little White Lies is a magazine that perceives film as something that doesn’t exist in a vacuum and actually goes beyond the four corners of the –small, medium or large– screen. Ultimately, film is also music, art, politics and even words. Film is all-encompassing and it goes on your whole life.

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