Libby Saxton is Reader in Film Studies at Queen Mary, University of London. She is author of Haunted Images: Film, Ethics, Testimony and the Holocaust (Wallflower, 2008), co-author of Film and Ethics: Foreclosed Encounters (Routledge, 2010) and co-editor of Holocaust Intersections: Genocide and Visual Culture at the New Millennium (Legenda: 2013). She is writing a book on iconic images, photography and cinema. Professor Anat Pick is Professor in Film Studies at Queen Mary, University of London. She is author of Creaturely Poetics: Animality and Vulnerability in Literature and Film (Columbia University Press, 2011) and Religion in Contemporary Thought and Cinema (Edinburgh University Press, 2019). Religion in Contemporary Thought and Cinema (Edinburgh University Press, 2019). She is co-editor of Screening Nature: Cinema Beyond the Human (Berghahn, 2013).

• ‘Love Sick: Malick’s Kierkegaardian ‘Weightless’ Trilogy’, Robert Sinnerbrink; ‘"My Heart Inclines Wholly to Know Where is the True Good": Mia Hansen-Løve’s Post Secular Search for God’, Catherine Wheatley; ‘Faiza Ambah’s Mariam and the Embodied Politics of Veiling in France’, Kaya Davies Hayon; ‘The Politics of Hair: Girls, Secularism and (Not) The Veil in Mustang (Ergüven) and Other Recent French films’, Fiona Handyside; ‘Mondzain, Ida and the Doubting Spectator’, Libby Saxton; ‘The Missing View in Global Post-Secular Cinema: Crouching Tiger Hidden Dragon as a Visual Kōan’, Chia-ju Chang; ‘Film’s Religious Algorithm’, Anat Pick.

Libby Saxton is Reader in Film Studies at Queen Mary, University of London. She is author of Haunted Images: Film, Ethics, Testimony and the Holocaust (Wallflower, 2008), co-author of Film and Ethics: Foreclosed Encounters (Routledge, 2010) and co-editor of Holocaust Intersections: Genocide and Visual Culture at the New Millennium (Legenda: 2013). She is writing a book on iconic images, photography and cinema. Professor Anat Pick is Professor in Film Studies at Queen Mary, University of London. She is author of Creaturely Poetics: Animality and Vulnerability in Literature and Film (Columbia University Press, 2011) and Religion in Contemporary Thought and Cinema (Edinburgh University Press, 2019). Religion in Contemporary Thought and Cinema (Edinburgh University Press, 2019). She is co-editor of Screening Nature: Cinema Beyond the Human (Berghahn, 2013).

• ‘Love Sick: Malick’s Kierkegaardian ‘Weightless’ Trilogy’, Robert Sinnerbrink; ‘"My Heart Inclines Wholly to Know Where is the True Good": Mia Hansen-Løve’s Post Secular Search for God’, Catherine Wheatley; ‘Faiza Ambah’s Mariam and the Embodied Politics of Veiling in France’, Kaya Davies Hayon; ‘The Politics of Hair: Girls, Secularism and (Not) The Veil in Mustang (Ergüven) and Other Recent French films’, Fiona Handyside; ‘Mondzain, Ida and the Doubting Spectator’, Libby Saxton; ‘The Missing View in Global Post-Secular Cinema: Crouching Tiger Hidden Dragon as a Visual Kōan’, Chia-ju Chang; ‘Film’s Religious Algorithm’, Anat Pick.