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Control and Improvisation: An Interview with Mohammad Shirvani

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Be Like Water: Writer-Director the RZA on One Spoon of Chocolate

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Horror Film Ascendant

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Esther C.M. Yau and Tony Williams on Hong Kong Neo-Noir (from 2017)

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The Ancients on the Chicago Streets: Moses the Black

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She Didn’t Do It: A High School Teacher’s Thoughts on Kristoffer Borgli’s The Drama

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The First Movie Studio in Texas: Gaston Méliès’s Star Film Ranch – Kathryn Fuller-Seeley on Collaborating with Frank Thompson

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A Small Town with a Big Problem: Bob Odenkirk and Derek Kolstad on Normal

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The Red Sea Phenomenon: A Genealogical Erasure of Female Pioneers

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The Making of a Silent Legacy: Early Buster Keaton

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Imperfect Storms: Berlinale 2026

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“Between Algeria and France There’s Still a Wound”: François Ozon on Adapting Camus’s The Stranger

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Now a Believer: Caroline Golum’s Revelations of Divine Love

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Reclaiming Cinema History: Alexandra Heller-Nicholas on 1000 Women in Horror (Shudder)

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Global Migration through State Corruption: Nathaniel Lezra on Roads of Fire

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Satyajit Ray’s Rich Humanist Comedy Restored: Days and Nights in the Forest (1970)

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Power of Solitude: Chen Deming on Always (Cong Lai, 2025)

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Dead Souls on the U.S. Border: On Alex Cox’s “Final Film”

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A Clarifying Distance: Michael Haneke’s Code Unknown, Global Art Cinema, and the European Union

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Questioning Authority: Jim Towns’ Mercy

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