Tom Atkinson concludes a Cannes experiment he undertook in lockdown.
Kirsty Asher looks to Christopher Nolan's tentpole behemoth to better understand movie studio arrogance.
Ben Flanagan reflects on his last in-person festival of 2020: the Berlinale.
Cathy Brennan takes on the cinematic institutions that have failed workers during the pandemic.
Serena Scateni pulls out the imperialist practices afoot in Lang's 1919 Madame Butterfly adaptation, Harakiri.
Cathy Brennan finds that Dr Mabuse and The Wolf of Wall Street's Jordan Belfort have a lot in common.
Katie Hogan asks whether the woman-as-robot character in fiction can only be in the image of the Maria-bot in Metropolis.
Joseph Owen finds only despair and prison anxiety in the works of William Faulkner and serial killer thriller M.
Fedor Tot investigates why Fritz Lang's moral ambiguity influenced so many, but could be skilfully deployed by so few.
Patrick Preziosi finds Lang's immediate influence in two 1950s Columbia noir films: Don Siegel's The Lineup and Edward Dmytryk's The Sniper.
Tom Atkinson finds the Lang in one of the German auteur's most prolific spiritual descendants: Johnnie To.
Ben Flanagan breaks down Fritz Lang's Abbey Road: the large-scale political quagmire of The Indian Epic.
Joseph Owen examines the power of knowledge and perception in Robert Flaherty's Nanook of the North.
Ben Flanagan makes the case for Orson Welles' long-lost masterpiece The Other Side of the Wind as a hybrid documentary on the death of a genius.
The public perception of a dead woman is challenged in Carol Morley's Dreams of a Life, as Orla Smith writes.
Satya Hariharan draws a line across history from 1980s British police violence in Black Audio Film Collective's Handsworth Songs to our present moment of image saturation.
Cathy Brennan documents her fragmented thoughts and frustrations working her way through the filmography of corrupt YouTube auteur Shane Dawson.
Regarding The Pain of Others: Two new festival hits - Me and the Cult Leader and The Viewing Booth - are investigated by Catriona Mahmoud for what they can teach us about how we receive images and use them to shape our beliefs.
Thomas Atkinson surveys the digital documentary future promised by Isiah Medina's Inventing the Future, and says: 'Is this it?'
Maximilien Luc Proctor finds potential energy in landscape portraits in the experimental films of Nathaniel Dorsky, Teo Hernandez, and James Benning.
Rhys Handley deconstructs the hopelessness of the Macmillan era in Billy Liar.