Cinema Year Zero

Ben Flanagan makes the case for Orson Welles' long-lost masterpiece The Other Side of the Wind is a hybrid documentary on the death of a genius.

Thomas Atkinson surveys the digital documentary future promised by Isiah Medina's Inventing the Future, and says: 'Is this it?'

The public perception of a dead woman is challenged in Carol Morley's Dreams of a Life, as Orla Smith writes.

Two new festival hits - Me and the Cult Leader and The Viewing Booth - are investigated by Cat Mahmoud for what they can teach us about how we receive and regurgitate images.

Satya Harihan draws a line across history from 1980s British police violence in Black Audio Film Collective's Handsworth Songs to our present moment of image saturation.

An introduction to our second volume.

Maximilien Luc Proctor finds valuable documentary insight in the experimental films of Nathaniel Dorsky, Teo Hernandez, and James Benning.

Cathy Brennan documents her fragmented thoughts and frustrations working her way through the filmography of corrupt YouTube auteur Shane Dawson.

Joseph Owen examines the power of knowledge and perception in Robert Flaherty's Nanook of the North.

Amos Levin discusses his curated online season of African revolutionary cinema, Glory and Dignity.

Thomas Atkinson untangles 13 Hours: The Secret Soldiers of Benghazi and its flurry of digital video.

Alonso Aguilar reminisces on the cinema as a physical space.

Ben Flanagan connects the dots between a 1930s thriller and two present-day genre pieces on white supremacy.

Anna Devereux examines cycles of violence in Chinatown and Twin Peaks: The Return.

Rhys Handley deconstructs the hopelessness of the Macmillan era in Billy Liar.

Joseph Owen interrogates Carl Schmitt's fascination with The Passion of Joan of Arc.

Cathy Brennan uses Patricio Guzman's The Cordillera of Dreams to question the romantic myth of film festivals.