As the #BBC lurches from crisis to crisis, I took a look at its mantra of impartiality – what it means, where it came from, who calls it, and how you stand up to those who would game it. Or, as it turns out, not…

“Claude Barras’s follow-up to his justly celebrated 2016 debut My Life as a Courgette shares with that film a commitment to placing its big-eyed, brightly painted clay-model innocents in dark corners of the real world” @nickkinocritic.bsky.social reviews Savages. www.bfi.org.uk/sight-and-so...

For @documentary.org, I took the measure of last month's @sheffdocfest.bsky.social, its platforming of deplatformed political filmmakers, visions of Palestine and more from Ukraine, and four great finds (including my favourites, A Simple Soldier and The Gas Station Attendant)

Meanwhile this year's CPH:DOX awards are out cphdox.dk/cphdox-2025-... and the jury is right – Deming Chen's Always is exquisite, a tone poem on youth, wonder and sensitivity, as I wrote for this year's Ekko critics' panel: www.ekkofilm.dk/stjernebarom...

Here's one I caught a year ago, at CPH:DOX 2024. It looked good then (www.ekkofilm.dk/stjernebarom...) and it grows on you – www.bfi.org.uk/sight-and-so...