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FYI, the new issue of FQ is free to read for a limited time. Enjoy! JB<br>
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<title>Film Quarterly's Spring Issue</title>
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<a href="https://filmquarterly.us20.list-manage.com/track/click?u=c91df656f82e9d0f825e840d6&id=b77697af5b&e=b1a366076a" originalsrc="https://filmquarterly.us20.list-manage.com/track/click?u=c91df656f82e9d0f825e840d6&id=b77697af5b&e=b1a366076a" title="" class="" target="_blank" style="mso-line-height-rule: exactly;-ms-text-size-adjust: 100%;-webkit-text-size-adjust: 100%;"><img alt="Film Quarterly Spring 2026 issue cover and contents" src="https://mcusercontent.com/c91df656f82e9d0f825e840d6/images/49d054bc-76f7-2d13-d2da-d32ba8e5ed37.jpg" width="564" style="max-width: 940px;border: 0;height: auto;outline: none;text-decoration: none;-ms-interpolation-mode: bicubic;vertical-align: bottom;" class="mcnImage" data-unique-identifier="">
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<h4 style="display: block;margin: 0;padding: 0;color: #949494;font-family: Georgia;font-size: 20px;font-style: italic;font-weight: normal;line-height: 125%;letter-spacing: normal;text-align: left;">
<strong><span style="font-size:24px"><em>Film Quarterly</em> 79.3</span><br>
<span style="font-size:24px">Spring 2026</span></strong><br>
</h4>
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<strong id="docs-internal-guid-9a47ed0d-7fff-338e-d300-17566a75bfb7"><a href="https://filmquarterly.us20.list-manage.com/track/click?u=c91df656f82e9d0f825e840d6&id=2d4e544b74&e=b1a366076a" originalsrc="https://filmquarterly.us20.list-manage.com/track/click?u=c91df656f82e9d0f825e840d6&id=2d4e544b74&e=b1a366076a" style="mso-line-height-rule: exactly;-ms-text-size-adjust: 100%;-webkit-text-size-adjust: 100%;color: #007C89;font-weight: normal;text-decoration: underline;"><em>FQ</em>’s
Spring issue</a> has arrived for your reading pleasure, and the <a href="https://filmquarterly.us20.list-manage.com/track/click?u=c91df656f82e9d0f825e840d6&id=282e7084aa&e=b1a366076a" originalsrc="https://filmquarterly.us20.list-manage.com/track/click?u=c91df656f82e9d0f825e840d6&id=282e7084aa&e=b1a366076a" style="mso-line-height-rule: exactly;-ms-text-size-adjust: 100%;-webkit-text-size-adjust: 100%;color: #007C89;font-weight: normal;text-decoration: underline;">
entire issue is free to read</a> for a limited time courtesy of UC Press. Please share, enjoy, and subscribe!<br>
<br>
For Your Consideration, deep-dives for Oscars season:</strong><br>
<br>
<em>-<a href="https://filmquarterly.us20.list-manage.com/track/click?u=c91df656f82e9d0f825e840d6&id=008082a8d5&e=b1a366076a" originalsrc="https://filmquarterly.us20.list-manage.com/track/click?u=c91df656f82e9d0f825e840d6&id=008082a8d5&e=b1a366076a" style="mso-line-height-rule: exactly;-ms-text-size-adjust: 100%;-webkit-text-size-adjust: 100%;color: #007C89;font-weight: normal;text-decoration: underline;">One
Battle After Another</a></em> by Peter Coviello<br>
<br>
-An <a href="https://filmquarterly.us20.list-manage.com/track/click?u=c91df656f82e9d0f825e840d6&id=4746387d5f&e=b1a366076a" originalsrc="https://filmquarterly.us20.list-manage.com/track/click?u=c91df656f82e9d0f825e840d6&id=4746387d5f&e=b1a366076a" style="mso-line-height-rule: exactly;-ms-text-size-adjust: 100%;-webkit-text-size-adjust: 100%;color: #007C89;font-weight: normal;text-decoration: underline;">
interview with Kleber Mendonça Filho</a> by Gerd Gemünden<br>
<br>
<strong>Alternatives to the Oscars:</strong><br>
<br>
-Editor <a href="https://filmquarterly.us20.list-manage.com/track/click?u=c91df656f82e9d0f825e840d6&id=f3cad30f10&e=b1a366076a" originalsrc="https://filmquarterly.us20.list-manage.com/track/click?u=c91df656f82e9d0f825e840d6&id=f3cad30f10&e=b1a366076a" style="mso-line-height-rule: exactly;-ms-text-size-adjust: 100%;-webkit-text-size-adjust: 100%;color: #007C89;font-weight: normal;text-decoration: underline;">
J. M. Tyree</a> on <em>No Other Choice, Peter Hujar’s Day, Kontinental ’25, </em>
and the Paramount Skydance-Netflix-WB debacle as an <em>Alien vs. Predator</em> situation<br>
<br>
<strong id="docs-internal-guid-9a47ed0d-7fff-338e-d300-17566a75bfb7">FQ authors are posting Oscars notes on the UC Press blog:</strong><br>
<br>
-First up, <a href="https://filmquarterly.us20.list-manage.com/track/click?u=c91df656f82e9d0f825e840d6&id=bf1673321a&e=b1a366076a" originalsrc="https://filmquarterly.us20.list-manage.com/track/click?u=c91df656f82e9d0f825e840d6&id=bf1673321a&e=b1a366076a" style="mso-line-height-rule: exactly;-ms-text-size-adjust: 100%;-webkit-text-size-adjust: 100%;color: #007C89;font-weight: normal;text-decoration: underline;">
Coviello on watching PTA’s film in occupied Chicago</a><br>
<br>
-Next, Anthony Michael D’Agostino on <em>Sinners</em> and Gemünden on <em>The Secret Agent</em><br>
<br>
<strong>Columns and Features:</strong><br>
<br>
-TV on Demand: <a href="https://filmquarterly.us20.list-manage.com/track/click?u=c91df656f82e9d0f825e840d6&id=0473d87bdd&e=b1a366076a" originalsrc="https://filmquarterly.us20.list-manage.com/track/click?u=c91df656f82e9d0f825e840d6&id=0473d87bdd&e=b1a366076a" style="mso-line-height-rule: exactly;-ms-text-size-adjust: 100%;-webkit-text-size-adjust: 100%;color: #007C89;font-weight: normal;text-decoration: underline;">
Laurie Ouellette</a> on <em>Predators</em><br>
<br>
-Retrospective: <a href="https://filmquarterly.us20.list-manage.com/track/click?u=c91df656f82e9d0f825e840d6&id=aa2f3992d4&e=b1a366076a" originalsrc="https://filmquarterly.us20.list-manage.com/track/click?u=c91df656f82e9d0f825e840d6&id=aa2f3992d4&e=b1a366076a" style="mso-line-height-rule: exactly;-ms-text-size-adjust: 100%;-webkit-text-size-adjust: 100%;color: #007C89;font-weight: normal;text-decoration: underline;">
Mina Radović</a> on <em>The She-Butterfly</em> and <em>The Rat-Savior</em> at 50<br>
<br>
-Long Takes: <a href="https://filmquarterly.us20.list-manage.com/track/click?u=c91df656f82e9d0f825e840d6&id=da455170b0&e=b1a366076a" originalsrc="https://filmquarterly.us20.list-manage.com/track/click?u=c91df656f82e9d0f825e840d6&id=da455170b0&e=b1a366076a" style="mso-line-height-rule: exactly;-ms-text-size-adjust: 100%;-webkit-text-size-adjust: 100%;color: #007C89;font-weight: normal;text-decoration: underline;">
Anthony Michael D’Agostino</a> on The New Witch Triad<br>
<br>
-Features: <a href="https://filmquarterly.us20.list-manage.com/track/click?u=c91df656f82e9d0f825e840d6&id=56610c323e&e=b1a366076a" originalsrc="https://filmquarterly.us20.list-manage.com/track/click?u=c91df656f82e9d0f825e840d6&id=56610c323e&e=b1a366076a" style="mso-line-height-rule: exactly;-ms-text-size-adjust: 100%;-webkit-text-size-adjust: 100%;color: #007C89;font-weight: normal;text-decoration: underline;">
Elinor Dolliver</a> on Analog Horror and <a href="https://filmquarterly.us20.list-manage.com/track/click?u=c91df656f82e9d0f825e840d6&id=a71055d44b&e=b1a366076a" originalsrc="https://filmquarterly.us20.list-manage.com/track/click?u=c91df656f82e9d0f825e840d6&id=a71055d44b&e=b1a366076a" style="mso-line-height-rule: exactly;-ms-text-size-adjust: 100%;-webkit-text-size-adjust: 100%;color: #007C89;font-weight: normal;text-decoration: underline;">
Jennifer Coates</a> on <em>Perfect Days</em> and <em>Ice Cream Fever</em><br>
<br>
<strong>Plus Reports from:</strong><br>
<br>
-Athens by <a href="https://filmquarterly.us20.list-manage.com/track/click?u=c91df656f82e9d0f825e840d6&id=76ef99e280&e=b1a366076a" originalsrc="https://filmquarterly.us20.list-manage.com/track/click?u=c91df656f82e9d0f825e840d6&id=76ef99e280&e=b1a366076a" style="mso-line-height-rule: exactly;-ms-text-size-adjust: 100%;-webkit-text-size-adjust: 100%;color: #007C89;font-weight: normal;text-decoration: underline;">
Nida Sophasarun</a><br>
<br>
-New/Next by <a href="https://filmquarterly.us20.list-manage.com/track/click?u=c91df656f82e9d0f825e840d6&id=7c9d5dc1ce&e=b1a366076a" originalsrc="https://filmquarterly.us20.list-manage.com/track/click?u=c91df656f82e9d0f825e840d6&id=7c9d5dc1ce&e=b1a366076a" style="mso-line-height-rule: exactly;-ms-text-size-adjust: 100%;-webkit-text-size-adjust: 100%;color: #007C89;font-weight: normal;text-decoration: underline;">
Will DiGravio</a><br>
<br>
-MoMA by <a href="https://filmquarterly.us20.list-manage.com/track/click?u=c91df656f82e9d0f825e840d6&id=b462f4d8ff&e=b1a366076a" originalsrc="https://filmquarterly.us20.list-manage.com/track/click?u=c91df656f82e9d0f825e840d6&id=b462f4d8ff&e=b1a366076a" style="mso-line-height-rule: exactly;-ms-text-size-adjust: 100%;-webkit-text-size-adjust: 100%;color: #007C89;font-weight: normal;text-decoration: underline;">
Giovanni Vimercati</a></p>
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<br>
<strong id="docs-internal-guid-9a47ed0d-7fff-338e-d300-17566a75bfb7"><span style="font-size:16px">Film Quarterly 79.3 Spring 2026 </span><br>
<span style="font-size:15px">Table of Contents</span><br>
<br>
From the Editor</strong></p>
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<strong id="docs-internal-guid-9a47ed0d-7fff-338e-d300-17566a75bfb7"><a href="https://filmquarterly.us20.list-manage.com/track/click?u=c91df656f82e9d0f825e840d6&id=1baaf183e5&e=b1a366076a" originalsrc="https://filmquarterly.us20.list-manage.com/track/click?u=c91df656f82e9d0f825e840d6&id=1baaf183e5&e=b1a366076a" style="mso-line-height-rule: exactly;-ms-text-size-adjust: 100%;-webkit-text-size-adjust: 100%;color: #007C89;font-weight: normal;text-decoration: underline;">Editor’s
Notebook</a><br>
J. M. Tyree<br>
<br>
Features</strong><br>
<br>
<strong id="docs-internal-guid-9a47ed0d-7fff-338e-d300-17566a75bfb7"><a href="https://filmquarterly.us20.list-manage.com/track/click?u=c91df656f82e9d0f825e840d6&id=734f460a6b&e=b1a366076a" originalsrc="https://filmquarterly.us20.list-manage.com/track/click?u=c91df656f82e9d0f825e840d6&id=734f460a6b&e=b1a366076a" style="mso-line-height-rule: exactly;-ms-text-size-adjust: 100%;-webkit-text-size-adjust: 100%;color: #007C89;font-weight: normal;text-decoration: underline;">The
Surprising Folklore of Analog Horror</a><br>
Elinor Dolliver</strong></p>
<p dir="ltr" style="margin: 10px 0;padding: 0;mso-line-height-rule: exactly;-ms-text-size-adjust: 100%;-webkit-text-size-adjust: 100%;color: #757575;font-family: Helvetica;font-size: 16px;line-height: 150%;text-align: left;">
<strong id="docs-internal-guid-9a47ed0d-7fff-338e-d300-17566a75bfb7"><a href="https://filmquarterly.us20.list-manage.com/track/click?u=c91df656f82e9d0f825e840d6&id=3347340f69&e=b1a366076a" originalsrc="https://filmquarterly.us20.list-manage.com/track/click?u=c91df656f82e9d0f825e840d6&id=3347340f69&e=b1a366076a" style="mso-line-height-rule: exactly;-ms-text-size-adjust: 100%;-webkit-text-size-adjust: 100%;color: #007C89;font-weight: normal;text-decoration: underline;">City
of Many Worlds: Habitation as Storytelling Device in Contemporary Films Set in Tokyo</a><br>
Jennifer Coates<br>
<br>
First Person</strong></p>
<p dir="ltr" style="margin: 10px 0;padding: 0;mso-line-height-rule: exactly;-ms-text-size-adjust: 100%;-webkit-text-size-adjust: 100%;color: #757575;font-family: Helvetica;font-size: 16px;line-height: 150%;text-align: left;">
<strong id="docs-internal-guid-9a47ed0d-7fff-338e-d300-17566a75bfb7"><a href="https://filmquarterly.us20.list-manage.com/track/click?u=c91df656f82e9d0f825e840d6&id=6f01717536&e=b1a366076a" originalsrc="https://filmquarterly.us20.list-manage.com/track/click?u=c91df656f82e9d0f825e840d6&id=6f01717536&e=b1a366076a" style="mso-line-height-rule: exactly;-ms-text-size-adjust: 100%;-webkit-text-size-adjust: 100%;color: #007C89;font-weight: normal;text-decoration: underline;">Infrastructures
of Escape</a><br>
Peter Coviello<br>
<br>
Retrospective</strong><br>
<br>
<strong id="docs-internal-guid-9a47ed0d-7fff-338e-d300-17566a75bfb7"><a href="https://filmquarterly.us20.list-manage.com/track/click?u=c91df656f82e9d0f825e840d6&id=31be4944f0&e=b1a366076a" originalsrc="https://filmquarterly.us20.list-manage.com/track/click?u=c91df656f82e9d0f825e840d6&id=31be4944f0&e=b1a366076a" style="mso-line-height-rule: exactly;-ms-text-size-adjust: 100%;-webkit-text-size-adjust: 100%;color: #007C89;font-weight: normal;text-decoration: underline;">Yugoslav
Horror Cinema: Animality and Existential Fear in Đorđe Kadijević’s <em>The She-Butterfly</em> and Krsto Papić’s
<em>The Rat Savior</em></a><br>
Mina Radović<br>
<br>
Interview</strong></p>
<p dir="ltr" style="margin: 10px 0;padding: 0;mso-line-height-rule: exactly;-ms-text-size-adjust: 100%;-webkit-text-size-adjust: 100%;color: #757575;font-family: Helvetica;font-size: 16px;line-height: 150%;text-align: left;">
<strong id="docs-internal-guid-9a47ed0d-7fff-338e-d300-17566a75bfb7"><a href="https://filmquarterly.us20.list-manage.com/track/click?u=c91df656f82e9d0f825e840d6&id=7d68a880f6&e=b1a366076a" originalsrc="https://filmquarterly.us20.list-manage.com/track/click?u=c91df656f82e9d0f825e840d6&id=7d68a880f6&e=b1a366076a" style="mso-line-height-rule: exactly;-ms-text-size-adjust: 100%;-webkit-text-size-adjust: 100%;color: #007C89;font-weight: normal;text-decoration: underline;">When
the Fantastic Meets Reality: An Interview with Kleber Mendonça Filho</a><br>
Gerd Gemünden<br>
<br>
Columns</strong></p>
<p dir="ltr" style="margin: 10px 0;padding: 0;mso-line-height-rule: exactly;-ms-text-size-adjust: 100%;-webkit-text-size-adjust: 100%;color: #757575;font-family: Helvetica;font-size: 16px;line-height: 150%;text-align: left;">
<strong id="docs-internal-guid-9a47ed0d-7fff-338e-d300-17566a75bfb7"><a href="https://filmquarterly.us20.list-manage.com/track/click?u=c91df656f82e9d0f825e840d6&id=471289de3b&e=b1a366076a" originalsrc="https://filmquarterly.us20.list-manage.com/track/click?u=c91df656f82e9d0f825e840d6&id=471289de3b&e=b1a366076a" style="mso-line-height-rule: exactly;-ms-text-size-adjust: 100%;-webkit-text-size-adjust: 100%;color: #007C89;font-weight: normal;text-decoration: underline;"><em>Predators</em>:
Prestige Documentary Meets Crimesploitation Television</a><br>
Laurie Ouellette</strong></p>
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<strong id="docs-internal-guid-9a47ed0d-7fff-338e-d300-17566a75bfb7"><a href="https://filmquarterly.us20.list-manage.com/track/click?u=c91df656f82e9d0f825e840d6&id=a4ac97da56&e=b1a366076a" originalsrc="https://filmquarterly.us20.list-manage.com/track/click?u=c91df656f82e9d0f825e840d6&id=a4ac97da56&e=b1a366076a" style="mso-line-height-rule: exactly;-ms-text-size-adjust: 100%;-webkit-text-size-adjust: 100%;color: #007C89;font-weight: normal;text-decoration: underline;">The
New Witch Triad of Longlegs, Bring Her Back, and Weapons</a><br>
Anthony Michael D’Agostino</strong><br>
<br>
<strong id="docs-internal-guid-9a47ed0d-7fff-338e-d300-17566a75bfb7">Reports</strong> </p>
<p dir="ltr" style="margin: 10px 0;padding: 0;mso-line-height-rule: exactly;-ms-text-size-adjust: 100%;-webkit-text-size-adjust: 100%;color: #757575;font-family: Helvetica;font-size: 16px;line-height: 150%;text-align: left;">
<strong id="docs-internal-guid-9a47ed0d-7fff-338e-d300-17566a75bfb7"><a href="https://filmquarterly.us20.list-manage.com/track/click?u=c91df656f82e9d0f825e840d6&id=a8416c08d4&e=b1a366076a" originalsrc="https://filmquarterly.us20.list-manage.com/track/click?u=c91df656f82e9d0f825e840d6&id=a8416c08d4&e=b1a366076a" style="mso-line-height-rule: exactly;-ms-text-size-adjust: 100%;-webkit-text-size-adjust: 100%;color: #007C89;font-weight: normal;text-decoration: underline;">Anticlerical
Devotion: The Cinema of João César Monteiro</a><br>
Giovanni Vimercati</strong></p>
<p dir="ltr" style="margin: 10px 0;padding: 0;mso-line-height-rule: exactly;-ms-text-size-adjust: 100%;-webkit-text-size-adjust: 100%;color: #757575;font-family: Helvetica;font-size: 16px;line-height: 150%;text-align: left;">
<strong id="docs-internal-guid-9a47ed0d-7fff-338e-d300-17566a75bfb7"><a href="https://filmquarterly.us20.list-manage.com/track/click?u=c91df656f82e9d0f825e840d6&id=5f644b358f&e=b1a366076a" originalsrc="https://filmquarterly.us20.list-manage.com/track/click?u=c91df656f82e9d0f825e840d6&id=5f644b358f&e=b1a366076a" style="mso-line-height-rule: exactly;-ms-text-size-adjust: 100%;-webkit-text-size-adjust: 100%;color: #007C89;font-weight: normal;text-decoration: underline;">Hunting
for Fairy Tales at the Athens International Film Festival</a><br>
Nida Sophasarun</strong></p>
<p dir="ltr" style="margin: 10px 0;padding: 0;mso-line-height-rule: exactly;-ms-text-size-adjust: 100%;-webkit-text-size-adjust: 100%;color: #757575;font-family: Helvetica;font-size: 16px;line-height: 150%;text-align: left;">
<strong id="docs-internal-guid-9a47ed0d-7fff-338e-d300-17566a75bfb7"><a href="https://filmquarterly.us20.list-manage.com/track/click?u=c91df656f82e9d0f825e840d6&id=676fbbbed6&e=b1a366076a" originalsrc="https://filmquarterly.us20.list-manage.com/track/click?u=c91df656f82e9d0f825e840d6&id=676fbbbed6&e=b1a366076a" style="mso-line-height-rule: exactly;-ms-text-size-adjust: 100%;-webkit-text-size-adjust: 100%;color: #007C89;font-weight: normal;text-decoration: underline;">New/Next
Film Festival 2025</a><br>
Will DiGravio<br>
<br>
Book Reviews<br>
<br>
<a href="https://filmquarterly.us20.list-manage.com/track/click?u=c91df656f82e9d0f825e840d6&id=e5c010985a&e=b1a366076a" originalsrc="https://filmquarterly.us20.list-manage.com/track/click?u=c91df656f82e9d0f825e840d6&id=e5c010985a&e=b1a366076a" style="mso-line-height-rule: exactly;-ms-text-size-adjust: 100%;-webkit-text-size-adjust: 100%;color: #007C89;font-weight: normal;text-decoration: underline;"><em>Man
of Taste: The Erotic Cinema of Radley Metzger</em>, by Rob King</a> <br>
Mark Goble</strong><br>
<br>
<strong id="docs-internal-guid-9a47ed0d-7fff-338e-d300-17566a75bfb7"><a href="https://filmquarterly.us20.list-manage.com/track/click?u=c91df656f82e9d0f825e840d6&id=fc799e0e47&e=b1a366076a" originalsrc="https://filmquarterly.us20.list-manage.com/track/click?u=c91df656f82e9d0f825e840d6&id=fc799e0e47&e=b1a366076a" style="mso-line-height-rule: exactly;-ms-text-size-adjust: 100%;-webkit-text-size-adjust: 100%;color: #007C89;font-weight: normal;text-decoration: underline;"><em>John
Williams: A Composer’s Life</em>, by Tim Greiving</a><br>
Adrian Schober</strong></p>
<p dir="ltr" style="margin: 10px 0;padding: 0;mso-line-height-rule: exactly;-ms-text-size-adjust: 100%;-webkit-text-size-adjust: 100%;color: #757575;font-family: Helvetica;font-size: 16px;line-height: 150%;text-align: left;">
<strong id="docs-internal-guid-9a47ed0d-7fff-338e-d300-17566a75bfb7"><a href="https://filmquarterly.us20.list-manage.com/track/click?u=c91df656f82e9d0f825e840d6&id=96b6b83af4&e=b1a366076a" originalsrc="https://filmquarterly.us20.list-manage.com/track/click?u=c91df656f82e9d0f825e840d6&id=96b6b83af4&e=b1a366076a" style="mso-line-height-rule: exactly;-ms-text-size-adjust: 100%;-webkit-text-size-adjust: 100%;color: #007C89;font-weight: normal;text-decoration: underline;"><em>The
Vanishing (Spoorloos)</em>, by Christina Brennan</a><br>
Sophia Schrock</strong> </p>
<p dir="ltr" style="margin: 10px 0;padding: 0;mso-line-height-rule: exactly;-ms-text-size-adjust: 100%;-webkit-text-size-adjust: 100%;color: #757575;font-family: Helvetica;font-size: 16px;line-height: 150%;text-align: left;">
<strong id="docs-internal-guid-9a47ed0d-7fff-338e-d300-17566a75bfb7"><a href="https://filmquarterly.us20.list-manage.com/track/click?u=c91df656f82e9d0f825e840d6&id=7692238eff&e=b1a366076a" originalsrc="https://filmquarterly.us20.list-manage.com/track/click?u=c91df656f82e9d0f825e840d6&id=7692238eff&e=b1a366076a" style="mso-line-height-rule: exactly;-ms-text-size-adjust: 100%;-webkit-text-size-adjust: 100%;color: #007C89;font-weight: normal;text-decoration: underline;"><em>Media
Travels: Toward an Atlas of Global Media</em>, edited by Juan Llamas-Rodriguez; <em>
The Development Film in the Americas</em>, by Molly Geidel</a><br>
Noah Tsika</strong></p>
<p dir="ltr" style="margin: 10px 0;padding: 0;mso-line-height-rule: exactly;-ms-text-size-adjust: 100%;-webkit-text-size-adjust: 100%;color: #757575;font-family: Helvetica;font-size: 16px;line-height: 150%;text-align: left;">
<strong id="docs-internal-guid-9a47ed0d-7fff-338e-d300-17566a75bfb7"><a href="https://filmquarterly.us20.list-manage.com/track/click?u=c91df656f82e9d0f825e840d6&id=f646349ead&e=b1a366076a" originalsrc="https://filmquarterly.us20.list-manage.com/track/click?u=c91df656f82e9d0f825e840d6&id=f646349ead&e=b1a366076a" style="mso-line-height-rule: exactly;-ms-text-size-adjust: 100%;-webkit-text-size-adjust: 100%;color: #007C89;font-weight: normal;text-decoration: underline;"><em>Black
Girl (La Noire de…)</em>, by Vlad Dima</a><br>
Michael Kowalchuk</strong><br>
<br>
<strong>Cover Image: </strong>Eszter Tompa in <em>Kontinental ’25</em> (Radu Jude, 2026). Courtesy © Sovereign Films/Paul Thiltges Distributions.</p>
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