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'.

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'.

Camilla Peeters looks at IFFR 2020 through the lens of Jonas Mekas's 'Anti-100 Years of Cinema Manifesto'.

Patrick Preziosi on why 'Bamboozled' is an essential film, both in Spike Lee's career and in the history of 21st century America cinema.

Maximilien Luc Proctor on notions of 'presence' in the latest films by Hong Sang-soo and James Benning.

Michaël Van Remoortere opens Jean-Luc Godard's 'Image Book'.

Maximilien Luc Proctor on Abel Ferrara's 'Siberia', Christian Petzold's 'Undine' and Kelly Reichardt's 'First Cow'.

Ruairí McCann on American Factory (Julia Reichert & Steven Bognar, 2019) and A Bread Factory (Patrick Wang, 2018).

"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.