Platonic love story or patriarchal nightmare? Melody Bridges and Caitlin Benedict debate.

James Wilby remembers starring in Maurice, a story of the forbidden love between two men amid the stifling conformity of Edwardian England. As James Ivory's film adaption of EM Forster's novel returns to cinemas this summer Wilby looks back on filming alongside Hugh Grant and how the film was overlooked in Britain in in 1987.

Rosamund Pike and director Patrick Kennedy talk about the art of phoning it in. From their short film, The Human Voice, which consists entirely of Rosamund on the phone for 18 minutes to some of cinema's must iconic on the phone scenes.

Presenter: Antonia Quirke

Daniel Kokotajlo explains how his upbringing as a Jehovah's Witness informed his debut film Apostasy. The drama stars Siobhan Finneran as a dedicated Jehovah's Witness, whose two teenage daughters begin to struggle to reconcile their beliefs with the secular world around them.

Editors Emma E Hickox and Rebecca Lloyd discuss how they first got into the cutting room and how diplomacy is a key skill when editing a film.

Jason Stalman, the lead animator on Wes Anderson's stop-motion film, Isle of Dogs, talks through the artistry and challenges behind creating Chief, Rex, Nutmeg and the other canine characters in the film. He also reveals how watching old acting performances from Bill Murray and Tilda Swinton informed the way the dogs were animated.

Presenter: Francine Stock

Lauren Greenfield exposes Generation Wealth, the consumer culture of excess, pornography, and cosmetic surgery for pets, and tells Francine Stock why she trained the lens on herself as part of her documentary.

Director Leslie Harris explains why she never made another film after her award-winning, ground-breaking debut Just Another Girl On The I.R.T. 26 years ago. And why producers are reluctant to finance movies with an African-American woman as the lead.

Composer Neil Brand reveals why the score for Spirited Away was a game-changer for children's animation.

Ethan Hawke tells Francine Stock about his role as a tormented priest in Paul Schrader's First Reformed, and why it's still rare to see a priest take the lead role in a Hollywood movie

Directors Beeban Kidron and Hope Dickson Leach discuss the problems of combining child care and film-making, and Beeban reveals why George Lucas thought she was a man.

Perfume expert and film critic Dariush Alavi looks at Apocalypse Now and tells us what napalm really smells like (clue: it doesn't smell like victory.).

Oscar winning director Kevin Macdonald turns his lens on Whitney Houston for his latest documentary, Whitney, only twelve months after fellow Brit Nick Broomfield did the same with Whitney: Can I Be Me. Macdonald tells Francine Stock why his documentary needed to be made.

Cinematographer Tom Townend takes us behind the scenes of Lynne Ramsay's You Were Never Really Here and explains why we should keep an eye out for the dead crows.

Gavia Baker-Whitelaw ruminates on the history of straight actors playing gay men, as Paul Rudd and Steve Coogan are the latest stars to continue the enduring tradition in the comedy Ideal Home, playing a couple whose lives are disrupted by the arrival of a small child.

Director Marco Bellocchio, whose career spans fifty years documenting the crises in Italian politics, explains why it's very difficult to make political films anymore.

Melody Bridges & Caitlin Benedict talk about the problematic fave that is West Side Story

Francine Stock enters The Bookshop with Bill Nighy and follows the trail of a father and daughter who live rough in a national park in Oregon. They're the subject of Leave No Trace, directed by Debra Granik, who reveals the true story behind her award-winning feature film.

Neil Brand reveals how composer John Williams made us believe that Superman could fly, just by changing key.

Francine Stock meets Sandra Bullock and Cate Blanchett to discuss Ocean's 8 and their plans to tackle gender inequality in the film industry.

Comedian Rosemary Fletcher argues that all-female reboots smack of women-only train carriages, and that women should have their own stories, not cast-offs from male stars.

Film producer Trudie Styler discusses her directorial debut Freak Show reveals why she went behind the camera for the first time in 25 years in the movie business.

Critics Larushka Ivan-Zadeh and Tim Robey on the Argentinian New Wave.