Cinema

How Hannah Quinlan and Rosie Hastings, Ed Webb-Ingall and Ayo Akingbade approach the closure of public space

During the turbulent summer of 2020, the filmmakers decided on decentring the human in their practice 

The first blockbuster to return to theatres demonstrates Hollywood’s eagerness to ‘exploit bodily presence for profit’ during the pandemic

Primer (2004) asks what happens when history is always hanging in the balance

Amidst cycles of protest, Zoé Samudzi considers Mati Diop’s film in which young men ‘return’ to the shores of Dakar from their fatal attempt to emigrate overseas

Coel's show ‘I May Destroy You’ daringly takes on the intricacies of sexual violence

‘First Cow’, the director’s seventh feature film, which began streaming 10 July, offers a humanistic alternative to the grand myths of Manifest Destiny

Mark Cousins’s ‘Women Make Film’ celebrates 130 years of cinema by 183 female directors 

In the director’s sweeping new Vietnam War film, it is never clear ‘who is the colonizer and who is the colonized’ 

The weightlessness of the iconic film helps alleviate the oppressive pull of reality

Next year will be crushingly difficult for all aspects of cinema. Some theatres have a plan

From his parodies of celebrity culture to his depiction of gender identities, there is still a lot to unpack on the centenary of the film director’s birth

The Comedy Central series injects a dose of mania and sloth into the ‘multicultural sitcom’

In the beloved Japanese anime films, childhood is a fantastic place of nightmare and wonder

A crop of Hollywood ‘grifter’ films reflect growing pessimism about the state of capitalism 

From The Walking Dead to Stranger Things, frightening revivals ‘captured a bit of lost magic in a disenchanted world’ 

From Gen-Z Yellow to Neomint, the confluence of money and the attention economy filled the 2010s with clashes of unexpected hues

Pain and Glory, the director’s best film in 15 years, is a moving meditation on mortality, heartbreak and cinema 

The new film is neither as sombre and meditative as the work of contemporaries such as Robert Redford, nor as adaptive as the real-world activism of Jane Fonda

A new spirit of bleak realism and self-questioning has infiltrated comic adaptations everywhere