Patrick Preziosi on the air of rootlessness that pervaded Japan’s post-occupation years, as exhibited in the films of Naruse Mikio.

Alonso Aguilar on the use of the seventh art in Central America to analyse a past and present that are inconvertible.

Savina Petkova on a contemporary Bulgarian cinema with a critical, corporeal and feminist perspective on the country's communist legacy.

David G. Hughes draws from a wide range of sources to posit action star Scott Adkins as the epitome of the English working-class spirit.

David Vanden Bossche charts the evolution of film noir's visual style from the 1940s to the 1980s.

Carlos Kong on Michel Khleifi's lyrical portrayals of Palestinian life under military occupation.

Nina Cools on the relationship between landscape and the human and non-human figures that occupy it in Wang Quan’an’s 'Öndög'.

Tijana Perović on Lynne Sachs' analysis of the way women have learnt to see their bodies through the clinical, male gaze.

Maximilien Luc Proctor looks at growing pains in a formalist way, examining three short to medium length films by accomplished directors.

Ruairí McCann on Catherine Breillat's revisionist interpretation of the fairy tale classic.

Joseph Pomp on the films that André Téchiné, Claire Denis, Chantal Akerman and Olivier Assays contributed to the series.

Michaël Van Remoortere juxtaposes the lives and deaths of two of Robert Bresson's youthful protagonists.

Charlotte Wynant and Karel Pletinck on the development of Straub-Huillet's aesthetics throughout their six earliest films.

Michaël Van Remoortere on grace and wonder as resistance in Terrence Malick's 'A Hidden Life'.

Andra Petrescu examines documentaries on the Romanian Revolution made later than 1989, to identify their various functions.

Hossein Eidizadeh explores how Post-Islamic Revolution Iranian cinema meant the protective reinvention of a homogeneous national culture.

Irina Trocan on the paradoxes of Cuban cinema in the 1960s.