Maximilien Luc Proctor on 'Acht Stunden sind kein Tag', Rainer Werner Fassbinder's eight-hour socialist film series.

Irina Trocan talked to video essayist Kevin B. Lee about the shift in film culture in the past decade and what new horizons might lie ahead.

Yoana Pavlova on the use of mythology in the films of Yorgos Lanthimos and Lars von Trier.

Carlos Kong analyses Andres Veiel’s film on Joseph Beuys, the newest addition to the resurgent genre of the 'artist documentary.'

Maximilien Luc Proctor on 'Golden Exits', the fifth feature by 32-year-old American independent wunderkind director Alex Ross Perry.

Sofie Steenhaut on 'I Am Not Your Negro', 'Casa Roshell' and identity construction in cinema.

Irina Trocan reports on the diversity of films on offer at the Berlinale 2017's Forum section.

Irina Trocan reports on the various uses of archival footage she encountered at IFFR 2017.

An essay in two parts, by Tom Paulus
2. Light on the Matter (or, Apples and Pears)

Maximilien Luc Proctor on 'Austerlitz' and 'In Jackson Heights', two of the most remarkable documentaries of 2016.

The third part of Alain Tjiong's observations after attending the Zomerfilmcollege 2016: on 'Love Me Tonight' and 'The Love Parade'.

Stéphanie Debaere on Bob Fosse's 'anti-musicals'.

Tobias Burms on the hide-and-seek game that is Chantal Akerman's 'Nuit et Jour'.

An essay in two parts, by Tom Paulus
1. Where the Truth Lies (or, The Flowers and the Trees)

Sofie Steenhaut examines the use of new media in current cinema.

Carlos Kong analyzes the visual and narrative dualities of Pirjo Honkasalo’s 'Concrete Night' (2013).

Zosha Millman links Terence Davies' 'A Quiet Passion' (2016) to Beyoncé's 'Lemonade' (2016).

Michaël Van Remoortere takes us from 'Austerlitz' to 'Schindler's List', 'La vita è bella' and back, by way of mythology and memory.

Jonah Simanjuntak explores how self-imposed limitations foster creativity in Mohamed Diab's 'Clash'.