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Album Review: Julien Baker ‘Little Oblivions’

Black Gold: Cinema, Wealth and Blackness

European Shooting Stars: An Interview with Alba Baptista

Netflix Review: Barry Avrich’s ‘Made You Look: A True Story About Fake Art’

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New by Fedor Tot • A Wild Ride in the Bullpen: How a Young Pedro Almodóvar Upended Genre and Gender

New by Bill Bria • Review: Jill Li’s ‘Lost Course’

New by Yoana Pavlova • Interview with ‘Dad Made Dirty Movies’ Author-Director Jordan Todorov

New by Josh Bell • Sharp Wits and Sharp Swords: How ‘Love & Friendship’ and ‘Pride and Prejudice and Zombies’ Reveal Jane Austen’s Savage Side

New by Mark Seneviratne • Nuns and ‘Dark Habits’: Spoiling God’s Servants

New by Marc Nelson • Glasgow Film Festival Review: Lili Horvát’s ‘Preparations to Be Together for an Unknown Period of Time’

New by Rhys Handley • Album Review: Julien Baker ‘Little Oblivions’

New by Brian Brems • Black Gold: Cinema, Wealth and Blackness

New by Elle Haywood • European Shooting Stars: An Interview with Alba Baptista

New by Q.V. Hough • Netflix Review: Barry Avrich’s ‘Made You Look: A True Story About Fake Art’

New by Jim Ross • Glasgow Film Festival Review: Kevin Macdonald’s ‘The Mauritanian’

New by Arun A.K. • Strength, Solidarity and Grace: Pedro Almodóvar’s ‘Volver’ Is an Ode to Womanhood

VVoices: What Is Gatekeeping?

New by Fedor Tot • Antonio and Almodóvar

New by Q.V. Hough • Netflix Review: ‘Brian Regan: On the Rocks’

New by Greg Carlson • Fargo Film Festival Review: Sabrina Doyle’s ‘Lorelei’

New by Cian Tsang • Director on the Verge of Change: The Controlled Chaos of Pedro Almodóvar’s ‘Julieta’

Pietro Marcello’s ‘Martin Eden’ (2019) #VagueVisages

Jessica Cressy in Pietro Marcello’s ‘Martin Eden’ (2019) #VagueVisages

Pietro Marcello’s ‘Martin Eden’ (2019) #VagueVisages

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