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.

Anna Devereux examines cycles of violence in Chinatown and Twin Peaks: The Return.

Cathy Brennan uses Patricio Guzman's The Cordillera of Dreams to question the romantic myth of film festivals.

Amos Levin discusses his curated online season of African revolutionary cinema, Glory and Dignity.

Ben Flanagan connects the dots between a 1930s thriller and two present-day genre pieces on white supremacy.

Joseph Owen interrogates Carl Schmitt's fascination with The Passion of Joan of Arc.

Thomas Atkinson untangles 13 Hours: The Secret Soldiers of Benghazi and its flurry of digital video.

Alonso Aguilar reminisces on the cinema as a physical space.