Newly restored, Madeline Anderson’s essential historical records of activism and vital body of cinematic work convey a radical commitment to hope, Come the Revolution curator Liz Chege writes.

On Cinema Rediscovered's focus on Women on the Periphery, Agnés Varda, Laura Mulvey, Spike Lee and more, Watershed Cinema Producer Tara Judah reflects on a history of critical conversations and curatorial choices that have left so many great filmmakers just outside of the spotlight.

With unfettered access to Orson Welles' private drawings and paintings, held dear in the private archive of his youngest daughter, filmmaker Mark Cousins invites us into his Wellesian world, through the eyes of the great man himself, Dr Peter Walsh writes.

For this third year of Cinema Rediscovered we celebrate two rarities in Douglas Slocombe’s filmography, from his early years at Ealing Studios. The films are worlds apart when it comes to style, and yet, were filmed within the course of a few months, co-director and co-curator of South West Silents, James Harrison, writes.

Defying gender norms and refusing labels, Something Must Break is an intimate and energetic picture of people looking for who they can be and are allowed to be, Watershed's MA Curation student Thea Berry writes.

Twenty-five years on, Ian Sergeant, a founding member of Black Pyramid Film and Video Project, reflects on the history and legacy of black British cinema in the UK and the role Black Pyramid Film Festival played.

In the wake of allegations against some of Hollywood's most powerful figures, Billy Wilder's The Apartment feels more timely than ever. Ripe for rediscovery, it reveals a savage critique of patriarchal capitalism, Cinema Producer Tara Judah writes.

Ahead of our Bazin 100 celebration screenings and discussions at Cinema Rediscovered, Cinema Curator Mark Cosgrove reflects on the passion and curiosity of prototype cinephile activist, André Bazin.

Revisiting the films of Bristol-born Mike Hodges, South West Silents' co-founder and co-curator James Harrison reflects on the colour and design that set a look and defined a decade of filmmaking in the director's screen career.

The ongoing work of the Fassbinder Foundation has ensured that the memory and legacy of one of West Germany’s greatest filmmakers has been preserved, including his turn to melodrama and television, Professor Andy Willis writes.

A Moving Image is the commendably ambitious and partly crowd-funded feature debut by writer-director Shola Amoo. Hailed by The Observer’s Wendy Ide as “a distinctive and bold new voice in British cinema”, the docu-drama addresses the thorny subject of South London's gentrification, Watershed's MA Curation student Thea Berry writes.

BBC Archive Researcher James Harrison speaks about Bristol-born Mike Hodges’ iconic Get Carter and Pulp - screening in celebration of Bristol's new status as UNESCO City of Film.

This month's cinema podcast focusses on four highlights covering First Reformed, Apostasy, Ex Libris: The New York Public Library and Pin Cushion plus a quick round up some of the other picks of the month in a packed July programme

We asked David Taylor and Daisy Steinhardt from 20th Century Flicks video shop to share short reflections on the words of cinephile and activist André Bazin, ahead of their illustrated talk during Cinema Rediscovered.

Vying with Julie Dash’s recently re-discovered and rightly celebrated Daughters of the Dust (1991) as the first film directed by an African American female to be commercially released, Just Another Girl on the I.R.T stands as a pivotal point in African American cinema.