A look at the ways a man of medicine has intersected with cinema history, from starring in Chris Marker’s ‘Blue Helmet’ (1995) to coordinating with Lucien Castaing-Taylor and Véréna Paravel to grant them access to the hospitals where ‘De Humani Corporis Fabrica’ (2022) was filmed. Continue reading MédeCiné: A Profile of François Crémieux
Shasha Movies, an independent streaming service for South-West Asian and North African cinema, presents the first complete retrospective of French-Algerian artist Zineb Sedira, whose filmography spans three decades and the breadth of the Mediterranean. Continue reading Gold, Blue and Lilac: The Films of Zineb Sedira
by Maximilien Luc Proctorwith editorial assistance from phili c. For the occasion of Revista Lumière’s upcoming NYC program (May 13 & 14th)—Colección Privada: The Super 8 and 16mm Scene in Spain—Ultra Dogme presents an interivew with featured filmmaker Blanca García, preceded by an introduction borrowed from our recent Movie Club streaming program, ‘Three Films by Blanca García’. The films of Blanca García are deeply invested … Continue reading “Joy in the Small”—An Interview with Blanca García
by Lucía Salas We’re proud to present this piece in both English and Spanish, translated by the author. When studying the history of film, we start with its predecessors: the magic lantern, chronophotography, diorama, kinescope, zoetrope, and the panorama—all different ways to lose ourselves to images. The panorama began as a painting, big enough to create the illusion of immersion in a (usually) frozen world, … Continue reading Colección Privada: The Super 8 and 16mm Scene in Spain
Starting today, April 14th, Darkness, Darkness, Burning Bright is available to stream for Ultra Dogme’s Movie Club subscribers for two weeks, through April 28th. 50% of the income from new sign-ups will go directly to the filmmaker. Recommended reading: MLP’s interview with Rouard following the film’s 2022 IFFR premiere, which can be found here. “Still images of Darkness offer no hint of the film’s peculiar … Continue reading Movie Club #3: ‘Darkness, Darkness, Burning Bright’ (2022) by Gaëlle Rouard
by Dylan Adamson At about the half hour mark of Nikos Nikolaidis’ Morning Patrol (1987), the unnamed lead character wanders into an empty movie theater, drawn by the sounds of Rita Hayworth’s “Put The Blame on Mame” echoing down the street outside. In from a post-apocalyptic Balkan wasteland, she quickly finds herself ensconced in the warm glow of old Hollywood. As in Goodbye, Dragon Inn … Continue reading Oil and Water: Three Films by Nikos Nikolaidis
Happy International Women’s Day! Continue reading International Women’s Day 2023
by Laia Nadal I often think about films that, as Susan Sontang would say, are a vast repository of images that make it difficult for us to forget. They haunt us, and state outright: “This is what human beings are capable of doing”. Works that empower people to speak up about their experiences, like Jennifer Montgomery’s Home Avenue, come to mind—perhaps because I have been … Continue reading Fox Maxy: Framing the Land
by Liam Kenny It was during Light Industry’s showing of William Wellman’s Good-bye, My Lady that I first saw Gina Telaroli take a picture of a cinema screen with her iPhone. I was flooded with ideas: what can be learned from pictures of the silver screen? With the technology to take photos in theaters without a long exposure, the projected image can be reimagined and … Continue reading Gina Telaroli: Reimaging
Reflections on Bulky Trash (Helke Misselwitz, 1991) by Elspeth Vischer Reflections on labour and parenting in the final days of the GDR are framed within an interesting dichotomy of music and creative freedom in Helke Misselwitz’s documentary Sperrmüll (Bulky Trash). In her signature intimate and empathetic style, this film charts a rift in political systems, protests, and young people’s allegiances to the GDR in unexpected … Continue reading Helke Misselwitz: Moving East to West Amidst the Sperrmüll
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