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.
The Pulp Archives: Mark Webber and Paul Burgess on Film, Books, Pulp and More
Nel Dahl has authored an ambitious diptych of interviews with two key creative forces behind the band, Pulp: guitarist and keyboardist, Mark Webber and their longtime closely associated photographer, Paul Burgess.
Memory and Coexistences: An Interview with Jeannette Muñoz
Luca Mannella spoke with Jeannette Muñoz about her ‘cinema of fragments, gifts and exchanges’ and how it delves into a complex weave of historical, ecological and colonialist realities.
“This is not a history, this is an ongoing phenomenon”: Akio Fujimoto, Kazutaka Watanabe, and Sujauddin Karimuddin on Lost Land
Blake Simons speaks with Akio Fujimoto, Kazutaka Watanabe and Sujauddin Karimuddin, the makers of Lost Land (2025), a vivid drama following two young siblings on a dangerous journey in the midst of the Rohingya Genocide.
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.
3 Songs That Got Us Through 2025
The editors and several contributors to Ultra Dogme pick out 3 pieces of music that got them through 2025.
Blasphemy and Freedom: João César Monteiro’s Post-Revolutionary Cinema
Justine Smith dives into the defiant, bacchanalian and melancholy cinema of João César Monteiro.