Maximilien Luc Proctor on Srikanth Srinivasan's book-length, career-spanning survey of the work of director Amit Dutta.

Cláudio Alves considers Ingmar Bergman’s 'The Magic Lantern' not as a miraculous key, but as a complement to Bergman's cinematic world.

Ruairí McCann examines Josef Von Sternberg’s biography, its irreverent name-calling, and its maverick author's 'over-it' attitude.

Luise Mörke examining how Miranda July's prose fiction supplements her on-screen reach for an emotional core often dismissed as quirky.

Michaël Van Remoortere contemplates Derek Jarman’s writing on the beauty of living and coming to peace far from the cinema.

Charlotte Wynant uses Chantal Akerman’s 'My Mother Laughs' as a means of delving into the body, the self, and how to reconcile these ideas.

In John Abraham's 'Amma Ariyan' (1986), Anuj Malhotra encounters a filmmaker who found his own way amidst a wide and diverse Indian cinema.

Alonso Aguilar reports on IFFR 2021, dealing in his final dispatch with three shorts that examine how to depict primal energies.

Alonso Aguilar reports on IFFR 2021, focussing in his second dispatch on three films that deal with a sense of being adrift.

Alonso Aguilar reports on IFFR 2021, focussing in his first dispatch on two films that render historical representation on their own terms.

Ioanna Micha on how Ingmar Bergman's 'Hour of the Wolf' (1968) examines the line between reality and illusion.

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’.