Alex Fields on Peter Bundy and how his evolving structuralist approach trained a perceptive eye and ear on the idiosyncrasies and profundities of regional American life and landscapes.
“Cinema is made with blood”—the Super 8 cinema of Teo Hernández
On the occasion of an ambitious retrospective of the work of Teo Hernández at MOMA, which opens tomorrow, Ultra Dogme’s own Maximilien Luc Proctor delves into Hernández’s diaries and films. Illuminating the vivacious and free-spirited life and perspective of one of cinema’s most soul-stirring scapegraces.
Yo! Ho Chi Minh is in the House!: Reflections on Jazz and the Vietnam War
Patrick Preziosi on the reverberations of the Vietnam War in the art of several major American jazz musicians including Steve Lacy, Henry Threadgill, Revolutionary Ensemble and Billy Bang.
A Universe of Music in an Appalachian City: Big Ears Festival 2026
Alex Fields reports from this year’s Big Ears in Knoxville, delving into the music festival’s far-reaching lineup, moods and spaces.
Automatic Chronograph: The Films of Anocha Suwichakornpong
Jawni Han on Anocha Suwichakornpong’s protean use of cinema to express the unstable confluence of the personal and political, the past and the present.
Mountains From a Distance
Autumn Johnson on Monica Sorelle’s ‘Mountains’, a drama depicting the daily grind, aspirations and community of a Haitian family in a working class Miami under siege by the forces of capital.
Dances with Pyramids: Michael Robinson’s These Hammers Don’t Hurt Us (2010)
Olivia Hunter Willke on the gilded and star-studded digital afterlife of Michael Robinson’s These Hammers Don’t Hurt Us (2010)
Mementos: On Gunvor Nelson’s Family Matters
Ruairí McCann on the late Gunvor Nelson’s cinematic embodiments of the conflicts, complexities and revelations of family life and ageing.
Blasphemy and Freedom: João César Monteiro’s Post-Revolutionary Cinema
Justine Smith dives into the defiant, bacchanalian and melancholy cinema of João César Monteiro.
The Devil’s Rendering: On Jiří Trnka’s Antifascist Visuals
Tyler Thier writes on Jiří Trnka’s antifascist, animated bricolages, placing their subversive tactility in opposition to frictionless and fascist AI imagery.