Najrin Islam on Ossama Mohammed’s Syrian satire, Nujum an-Nahar (Stars in Broad Daylight, 1988) and the politics of its new restoration.
Kaleidoscopes of Solidarity: Light Field 2025
Dan Ziegler writes on San Francisco’s Light Field Film Festival 2025.
Amir Naderi: Fragmented Modernities
Alonso Aguilar on the striking abrasions and velocities of Amir Naderi’s international modernist cinema.
Revolutionary Desires: Films of The Afro-Asian Film Festival and the ‘Bandung Spirit’ at IFFR 2025
Cici Peng on the revolutionary dynamics of several films featured at the ‘third worldist’ Afro-Asian Film Festival and screened at IFFR for the 70th anniversary of the Bandung Conference.
Reading Through Loss: Archival Film Practices at IFFR 2025
Emily Jisoo Bowles on 3 films that screened at this year’s IFFR, which use found footage to interrogate historical, political and representational fissures.
The Expanding Universe: On Standish Lawder’s ‘Raindance’ (1972)
Ruairí McCann on ‘Raindance’, Standish Lawder’s optically printed miracle, a vast universe of light and motion scrambled and remade anew.
Peasants of the Cinema: António Reis & Margarida Cordeiro
Liam Kenny on Margarida Cordeiro and António Reis’s revolutionary cinema of Tràs-os-Montes, its lived-in and dreamlike poetics and their ethos of close communal collaboration.
The 24-Hour Working Girl
Ayanna Dozier writes on ‘Anora’ and its reductive vision of sex work as a client’s fantasy.
A Place Where a Week Lasts for Ten Days: On Kim Ayoung’s ‘Delivery Dancer’ Series
Jawni Han on the tyranny of capitalist time and other possible worlds in Kim Ayoung’s ‘Delivery Dancer’ series.
Colors, Nailed to the Mast
Joshua Peinado on Michael Sicinski’s inspired curation of new experimental film at this year’s Houston Cinema Arts Festival.