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.
Illusional Civilization: Bahram Beyzaei’s Journey
Faranak Nateghi on the context and poetics of Journey (Safar, 1972), Bahram Beyzaei’s metaphorical portrait of Tehran as a modern city of dazzling surfaces and transparent class inequality and alienation.
I Saw a Dry Leaf in a Field of Flowers: Locarno 78 and the Texture of Cinema
Arta Barzanji reports from this year’s Locarno Film Festival on the experimentation of Alexandre Koberidze’s Dry Leaf and Radu Jude’s Dracula.
Faces in Death: Michael Roemer’s ‘Dying’
Devin Leong on the poetics of Michael Roemer’s 1976 documentary, Dying.
Subtle Spacecrafts & Shifting Climates
Emma Fuchs on the ‘subtle science fiction’ approach to depicting the vicissitudes of climate change and modernity in Still Life, Lazzaro Felice and Bacurau.
An Unsettled Materialism: The Super 8 Films of Jean-Claude Rousseau
Avalyn Wu draws on Cezanne to discuss Jean-Claude Rousseau’s penetrating and vivid materialist filmmaking.
Do These Images Give Voice?: ‘Machete Gillette…Mama’ (1989)
Ruairí McCann on Larry Gottheim’s Machete Gilette…Mama, a travelogue marked by ghosts and perceptual vicissitudes.