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.
Images of Time: An Interview with Shinya Isobe
Alex Fields speaks with Shinya Isobe about the gradual development of his experimental approach, time and cinema, the dynamic presence of sound in his work, and more.
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.