Christina Phoebe Thomopoulos on how the experience of Gregory Markopoulos’s Eniaios transcends mere linguistic relatability.

Irina Trocan on how Marcel Ophuls uses duration to try to do justice to the complexity of the Yugoslav Wars.

A personal reflection by Anuj Malhotra on the conception of cinematic time in the short films of Vjekoslav Nakić.

Michaël Van Remoortere on the tension between hindsight and innocence in Fassbinder's Berlin Alexanderplatz.

Arta Barzanji on the physical experience of viewing Béla Tarr's Sátántangó.

"A desire to erase one’s memory of all previous cinema; ... to erase one’s memory of all other art, culture and philosophy."

In memoriam: Anke Brouwers on Kirk Douglas (1916-2020).

Charlotte Wynant and Karel Pletinck on mythology and reality in the films of Roberto Minervini and Albert Serra.

Anuj Malhotra argues for a new cinephile regime so that "we may be able to witness the emergence of a variety of cinephilias".

Katrijn Bekers on Belgian director Patrice Toye and her taboo breaking films.

Alex Mircioi looks back on Karina's work with Godard, focusing on her skill as an actress.

Satya Hariharan asks what still constitutes a film in a world wherein image production outpaces all else.

Alonso Aguilar on Latin American Cinema as a battlefield between Western complacency and radical intent.

"Addicted to the pen, images of the camera pen are returned to words in an attempt to explain what was witnessed."

Ioanna Micha on dance as a road to acceptance in Levan Akin’s 'And Then We Danced' (2019).

Ben Flanagan on post-Franco Spanish cinema, from 1970s onwards when a transgressive strain had obtained a firm foothold.

Q: Can you write a manifesto about cinema?
A: (me, heartbroken, horny, lost) I'll see what I can do.

David Vanden Bossche on the evolution of the 'Urban Crime Thriller' in the 1970s and 1980s.

Ioanna Micha on Pietro Marcello's 'Martin Eden'.