Patrick Duynslaegher on Irm Hermann, the actress who left as big a mark on the work of Fassbinder as any of his more famous contributors.

Ruairí McCann on the short but unique and unforgettable career of Linda Manz.

Alonso Aguilar on filmmaker, politician, activist and writer, Fernando "Pino" Solanas.

Maximilien Luc Proctor on Bruce Baillie.

In memoriam: Anke Brouwers on Olivia de Havilland (1916-2020).

Debbie Zhou analyses the inaugural 'Berlin school' film, scrutinising its aesthetic and conceptual treatment of identity.

Joseph Owen finds that 'Vitalina Varela' invites a more expansive understanding of Costa’s poetics as ‘the art of being without’.

Camilla Peeters finds a renewed sense of purpose for cinema in the latest films by Tsai Ming-liang and Hong Sang-soo.

Stefan Goncharov on how Kelly Reichardt's 'First Cow' debunks the Western idea of history as a progressive process that ends in utopia.

Kathy Vanhout examines how docufiction is ideally suited to uncover a spectrum of truth when dealing with the depiction of drunkenness.

Patrick Preziosi gives an elaborate account of the referentiality permeating the films of Grisebach, Schanelec and Köhler.

Nathasha Orlando Kappler dissects Maren Ade’s 'Everyone Else' to bring forth the theatrical displays of relationships.

Maximilien Luc Proctor offers an intimate reading of Angela Schanelec’s quiet poeticism, exploring what it means to be a 'Berliner'.

Savina Petkova explores the particular case of Christian Petzold’s approach to symbolism.

Wiebe Copman on Sébastien Lifshitz' 'Petite fille'.

Kathy Vanhout on Chloé Zhao's 'Nomadland'.

Camilla Peeters on Chloé Zhao's 'Nomadland'.

Joseph Owen on Sean Durkin's 'The Nest'.