Jack Seibert on the tension between documentation and mythology in Frank Tashlin's early rock n’ roll musical 'The Girl Can’t Help It'.

Patrick Preziosi shows the complementary ways Tsai Ming-liang and Terence Davies use musical numbers to confront the burden of history.

Joseph Pomp looks at Flora Gomes's “glocal” musical 'Nha Fala', focussing on its healing powers and propensity for moving across cultures.

Savina Petkova illuminates how Agnieszka Smoczyńska 'The Lure' stresses the genre’s porosity, enabling it to think through the body.

Cláudio Alves doubles down on the musical’s fraught relationship with realism through an analysis of João Nicolau's 'Technoboss'.

Ruairí McCann examines Duras’s and Rivette’s tireless redefinition of their authorship and medium in two late works of both filmmakers.

Zahra Tavassoli Zea shows how resistance in the Rivettian universe takes on the form of keeping one’s playful spirit on a quest for truth.

Maximilien Luc Proctor examins on Duras’s short films, in particular 'L’Homme atlantique' and her undefinable relation to its protagonist.

Michaël Van Remoortere considers Duras’s self-constructions, her incessant return to images of her youth and the unknowability of the self.

Kathy Vanhout lays bare the cyclicality of Jacques Rivette’s 'Duelle' (1976), focussing on the precise motions of actors and camera.

Cristina Álvarez López and Adrian Martin on how trust and distrust are given shape in time and space in Nicholas Ray's 'In a Lonely Place'.

Ben Flanagan’s interrogates the male English voice in documentary, where directors adopt an ostensible command of truth and depiction.

Alonso Aguilar examines the jump made by Glauber Rocha and Maurício do Valle, from 'Black God, White Devil' to 'Antonio das Mortes'.

Kathy Vanhout analyzes the manifestation of the image and voice of singer and actress Maria Callas in Werner Schroeter’s filmography.

Lawrence Garcia looks at how Jacques Doillon invites viewers into his filmic fantasy via the subtly variegated gestures of the performers.

Cláudio Alves locates the intersection of the romantic and performative lives of Jennifer Jones and producer David O. Selznick.

Maximilien Luc Proctor looks back at the Berlinale, contemplating the impact of our current moment on the films and the festival itself.