Michaël Van Remoortere on exodus and exile in Chantal Akerman's 'Je tu il elle', 'Les rendez-vous d'Anna' and 'Là-bas'.

David Vanden Bossche on Brian De Palma's Carrie (1976) as horror film.

David Vanden Bossche on the correlation between Steadicam shots and the thriller genre in the films of Brian De Palma.

Maximilien Luc Proctor talked to James Benning about his latest works and his relationship with cinema.

Maximilien Luc Proctor on Lav Diaz' latest brainchild: the raw, military and musical 'Season of the Devil'.

Based on a true story: Anke Brouwers on the fickle relationship between the Oscars and adapted screenplays.

Michaël Van Remoortere on ideology in narrative and on why he thinks Fassbinder's 'Acht Stunden Sind Kein Tag' (1972) is dishonest.

In the second part of this series, Tom Paulus analyses the early work of Hong Sang-soo and its connection to modernist literature.

Cláudio Alves takes 'Call Me By Your Name' as a starting point for an examination of the conventions of of today’s queer cinema.

Joseph Pomp on Claire Denis' 'Jacques Rivette, le veilleur' and the connection between Renoir, Rivette and Denis.

Charlotte Wynant on language and acting in Nele Wohlatz's 'El futuro perfecto' (2016).

Ruben Demasure on the themes and affinities of Valeska Grisebach’s 'Western'.

Carlos Kong reports on the 55th New York Film Festival and its relationship to the world that surrounds it.

Charlotte Wynant on Martin McDonagh's 'Three Billboards Outside Ebbing, Missouri'.

Debbie Onuoha on Joachim Trier's 'Thelma'.

Joseph Pomp on Mohammad Rasoulof's 'A Man of Integrity'.

Susana Bessa on Damien Manivel & Kohei Igarashi's 'La Nuit où j'ai nagé'.

Cláudio Alves on Adrian Sitaru's 'The Fixer'.

Debbie Onuoha on Ferenc Török's '1945'.

Joseph Pomp on Kantemir Balagov's 'Tesnota'.