The Devil Wears Prada 2
Andy Sachs returns to Runway as Miranda Priestly navigates a new media landscape and Runway's position within. The duo reconnect with former assistant Emily Charlton, now the head of a luxury brand that possesses funding which could ensure Runway's survival.
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View full archive →Open Cinema
See all →Dossiers
See all →Peaks of Japanese Cinema
From Ozu's stillness to Kurosawa's epic thunder: the Japanese classicism that taught the world how to look.
6 filmsThe French New Wave
Handheld cameras, insolent editing and a love of cinema: the generation that broke the rules in the late fifties.
6 filmsSilent Cinema & the Avant-Garde
Expressionism, Soviet montage and surrealism: when cinema invented its own wordless language.
Figures
See all →Current journals · open access
View full archive →Active, open-access film journals. Copyright means they can’t be embedded here, so these cards link out to each journal’s official site.
Secuencias
Academic journal of film history, with thematic dossiers and reviews.
Fotocinema
Open-access scholarly journal devoted to film and photography.
L’Atalante
Film studies bridging theory and practice.
Archivos de la Filmoteca
Historical studies on the moving image and film heritage.
La Fuga
Chilean journal of film criticism and thought, freely accessible.
Offscreen
Canadian journal of film criticism and essays, open access.
Senses of Cinema
Long-running online journal of essays and auteur film criticism.
Library
See all →Cine Archive is an open, bilingual film archive. We believe film culture —its history, its press, its memory— is a public good, and we gather it from what already belongs to everyone: the public domain and open access.
Our periodicals library rescues public-domain film magazines and newspapers: hundreds of pages documenting more than a century of moving images that anyone can read, with no paywalls and no accounts. We don't lock them away —we show them as they are, free, and link back to their source.
We catalogue, we don't sell. There are no tickets, no subscriptions, no advertising, no trackers. Our data comes from open, free sources —Internet Archive, TMDB, OMDb, Wikidata— and the project is open in its making. What we borrow, we return with attribution.
We write and browse in Spanish and English because cinema is a borderless language, and knowledge that belongs to everyone should not speak only one. If you made it this far, this is yours too.
Read the manifesto →- Public domain first
- We prioritise what is already free: public domain and open access, always crediting the source.
- No walls
- No payments, no ads, no tracking. An index to explore, not a store.