A Statement on the 74th Berlinale

We, the editors of Ultra Dogme, would like to reiterate our support for the Strike Germany campaign, and the boycott of Berlinale and its associated events in protest against Germany’s political and financial support of Israel’s genocide in Gaza and ongoing criminalisation of Palestinian culture, identity and solidarity. We encourage all filmmakers, critics, editors, programmers and artworkers to join us in this boycott and in … Continue reading A Statement on the 74th Berlinale

A Streaming Guide to Palestinian Cinema

The editors at Ultra Dogme would like to state their continued support for the people of Palestine and condemn the genocide being perpetrated by the state of Israel with the support of the United States, United Kingdom, The Federal Republic of Germany and other colonial powers. In addition to the many ways you can show your support for this struggle, we advocate watching Palestinian cinema … Continue reading A Streaming Guide to Palestinian Cinema

Mambar Pierrette: All of Cameroon’s Cares on Her Shoulders

by Abiba Coulibaly Mambar Pierrette continues Roisin Mbakam’s exploration of the confessional function offered by informal businesses and the entrepreneurial African women who man them—following the thread of her previous film Chez Jolie Coiffeur (2018), about a sliver of a Belgian hair salon. Until now, Mbakam’s steady output has focused largely on the diaspora of her native Cameroon (Chez Jolie Coiffure [2018], Delphine’s Prayers [2021]) … Continue reading Mambar Pierrette: All of Cameroon’s Cares on Her Shoulders

Spirits Rebel: On Julius-Amédée Laou’s Cinema of Revenants

by Ruairí McCann In his poem, Cahier d’un retour au pays natal (1939), Aimé Césaire, through the painful, rocky passage back and forth between Africa, Martinique and France, arrives at the following commitment.  “And I should say to myself:  << And most of all beware, even in thought, of assuming the sterile attitude of the spectator, for life is not a spectacle, a sea of … Continue reading Spirits Rebel: On Julius-Amédée Laou’s Cinema of Revenants