Michael O’Pray Prize

Ricardo Reverón Blanco on a Cuban filmmaker suppressed both at home and abroad

Emily Morley examines a new mode of distributed filmmaking

Oliver Dixon revisits the work of experimental documentary filmmakers

Bami Oke examines Garrett Bradley’s embodied video reflection on US culture

E De Zulueta explores the delirious resistance of Mexican filmmakers Colectivo los ingrávidos

Nevan Spier views Palestine through the films of Mustafa Abu Ali and Elia Suleiman

Natasha Thembiso Ruwona explores Ashanti Harris’s Black Gold

Aislinn Evans critically examines a lesbian relation to histories of the land and landscape cinema

Leena Habiballa considers the physical reworking of a pioneering film’s 16mm print

Laura Bivolaru on viewing the moving image while moving

Evelyn Wh-ell examines two French trans icons’ focus on image as surface

Dan Guthrie tries to imagine the experience of an elusive artwork

Siavash Minoukadeh on the power of oblique suggestion in queer cinema

Ronnie Angel Pope enters a cinematic void

Rosa Tyhurst on Danielle Dean’s subverting of the vampiric strategies at work in brand marketing

Sara Quattrocchi Febles explores how a film can no longer be fixed in time and place when screened outdoors

Harvey Dimond explores the historical resonances of this slavery-referencing artwork made during a suffocating pandemic

Rachel Pronger discovers in earlier experimental films a familiar tension between the social being and the individual body

Mimi Howard finds that there are oblique ways to engage with tumultuous times

Cassandre Greenberg considers Derek Jarman’s Blue as a celluloid artefact in an age of portable digital media

Laura Jacobs on hostile environments, both social and natural, in Patrick Staff’s ‘On Venus’ exhibition

Adam Hines-Green on the expression of horror through both fiction and reality in the LA video art of Julie Becker

Dan Ward on artists’s attempts to slow the viewer

Lauren Houlton on Richard Mosse’s ‘Incoming’