Global Frames: Germany
Adolescence: understanding the manosphere
Why is romance subplot in The Hunger Games so important? 
global frames
Sophie Ennis recommends four must-watch films from Germany
Opinion
Ellie Smith examines the importance of love in a political YA story
Review
Jaipreet Lully recommends a show to remind us that the end-of-term blues are worth taking one day at a time
Opinion
Amanda Ljungberg takes us through how the new season of The White Lotus is bound to impact Thailand, for better or worse
Review
George Pool explores the cinematic grammar of RaMell Ross’ latest feature
Review
Amanda Ljungberg reviews Halina Reijn’s latest film Babygirl
Interview
Cynthia Dong interviews Cambridge PhD student, Daniella DeVinter, about her film Unwell Woman
Review
Millie Jeffery reviews Mangold’s take on the life of Bob Dylan
Review
Pollyanna Chamberlain reflects on the new BBC drama set in Cambridge
Watchlist
Varsity shares some key festive recommendations to accompany your Bridgemas celebrations
Head to head
Jaipreet Lully and Stella Williamson go head to head over Anna Kendrick’s latest TV show, Woman of the Hour
Feature
Gina Stock reflects on the Industry Day at this year’s Cambridge Film Festival
Opinion
A hybrid format is a win for independent filmmakers
Student Film
The best ways to get involved with the Cambridge film scene
Review
Kneecap brings new depth to the Irish language film
Retrospective
Does the cult classic still hold up all these years later?
Opinion
Iona Gallagher challenges the assumption that science fiction is a ‘boy’ genre
Opinion
Hilerie Kwan explores the consequences of the American streaming giant’s foray into the K-Drama scene
Discussion with spoilers
The poor structure of the novel made a good adaptation impossible
Retrospective
At its core, the early 2000s queer drama is about community
List
The Academy has consistently undervalued comedies and thrillers
Event Report
At the first screening of the Cambridge Palestinian Culture series, Anna Geary explores how Spaces of Exception evolves with the present, as told by co-director Malek Rasamny
