Kirsty Asher finds Youtube a safe haven for a specific kind of film criticism: analysis of costume design as a key element of the cinematic image.

Wilde Davis pushes against print criticism as an avenue for transgressive film analysis, and instead finds solace in the cinematic reflections of queer artists.

Cinema Year Zero Volume 14: Portals of the Past

Ben Flanagan brings us a round-up of the triumphant Mamoulian programme at the most historiographical of festivals, Il Cinema Ritrovato.

Cathy Brennan evokes productive power in relation to internet video clips of violence against trans women.

James Brice considers Music, Angela Schalenec’s most recent contribution to the Berlin School, and its position in the shadow of German reunification.

Anand Sudha analyses the intersection between antiquated spirituality and the modern in Rossellini’s Europe ‘51.

Dylan Adamson relays how the heliotropic camerawork of Franco Piavoli lends itself to a world governed by nature rather than the human concept of time.

Wilde Davis examines the use of late 20th-century amateur porn in Kalil Haddad’s new archive-driven short as a means of resisting the rising commodification of queer culture and politics.

Miranda Mungai posits a notion of Online Realism, to pull together strands connecting films as disparate as The Menu and We’re All Going to the World’s Fair.