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Not coloured, but in colour
What has a director who only shot two reels of colour film in his career to say about colour in cinema? That director being Eisenstein, a lot. He wrote extensively on the issue of colour at times when colour was either unavailable, as in the 1920s, or, as in the 1940s, when it was still experimental and less sophisticated than today. Alas, his writings are not widely known and in some cases not even translated. However, his insights in the use of colour cinematography are as inspiring as his theory and practice of montage. By Marco Zee-Jotti
Only Connect - The Secret Art of Film Poems
By Gareth Evans

Observations on the Long Take
Pier Paolo Pasolini's reflection on the significance of death and editing

Lord of the Frames: Kurt Kren
Peter Tscherkassky pays tribute to the Austrian artist and avant garde filmmaker

Saul Bass: The man behind the titles
By Tomislav Terek

Nine Fragments about the films of Michael Haneke
Violence and narrative forms in one of the most interesting contemporary directors

Thinking British-Asian, thinking independent film:
in conversation with Atif Ghani
Atif Ghani discusses the historical trajectories within British-Asian Independent Cinema and suggests a need to move towards a more commercially viable approach

On documentary: The Zapruder Quotient
Taking the Super 8 footage of the Kennedy assassination as a starting point, Michael Chanan investigates the level of truth and the ethical questions raised by documentaries

Festival of Inverts
Kathleen Bryson makes the case for minority representation

Is your film-making "revolutionary"?
Can we apply the theories of Third Cinema to First World countries? Paul Willemen helps FW's readers to look at filmmaking from a different angle