Features

December 5, 2025

Hold the Line: The Feminist Legacy of ‘Salt of the Earth’

Maudie Osborne
August 8, 2025

Closing the Curtains

Indigo Bailey
July 8, 2025

At the Cinémathèque: On Delphine Seyrig, Alain Resnais, and Remoulding Memory

Jamie Jungyoon Tak
June 6, 2025

‘Night At the Gates of Hell’ Games Horror’s Maestros

Austin Lancaster
June 3, 2025

Sabotaging the Archive: ‘A Fidai Film’

Alex Williams
May 27, 2025

On Moviejuice’s Microbudget Revolutions

Indigo Bailey
May 21, 2025

Voices of Restitution: On Mati Diop’s ‘Dahomey’

Mia Palmer-Verevis
May 8, 2025

MGM Pets: Elizabeth Taylor and Her Animals

Charles Carrall
March 21, 2025

Special Delivery: Acting Styles in Video Games

Austin Lancaster
March 8, 2025

‘City of Lost Souls,’ Trans Optimism and Germany’s Cultural Anxieties

Claude Kempen
February 20, 2025

Editors’ Diaries: Summer Sacraments

Rough Cut
January 30, 2025

A Star is Salvaged: Holly Woodlawn in ‘Scarecrow in a Garden of Cucumbers’

Dylan Rowen
January 13, 2025

Rewatching ‘The Exorcist’ Every Year, Ages 15-25

Charles Roper
December 18, 2024

Todd Haynes’ ‘I’m Not There’ Reinvents the Biopic Myth Machine

Chelsea Daniel
December 10, 2024

At the Cinémathèque: Three Nights with Derek Jarman

Dylan Rowen
November 20, 2024

Raining Cats and… Drones?

Zowie Douglas-Kinghorn
November 7, 2024

Here and Now: Barbara Creed and Anat Pick Discuss ‘Showing Up’

Rough Cut
October 31, 2024

Tainted Silver and Digital Strings: The Sound of Music in ‘My Darling in Stirling’

Philip Brophy
October 28, 2024

At the Cinémathèque: The Intertextual Cine-Essays of Jeni Thornley

Grace Boschetti
October 25, 2024

At the Cinémathèque: The Two Jiřís

Linus Wolfe Tolliday