Editorial
It has been a long-known fact that the number of women who have won major awards at top tier film festivals can be counted on two hands. Prior to the global wake-up call of the last two years, the numbers were: one in Cannes, four in Venice, six in Berlin and eight in Locarno. For...
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Vol. 118 (October 2021)
In his essay on the Polaroids of Andrei Tarkovsky, Gawan Fagard draws parallels between the ontology of the medium and the work of the Russian director.
Daniel Fuller looks at the way a Ukrainian computer game transfigured folkloric processes of remembering, drawing parallels to Andrei Tarkovsky’s Stalker.
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