Samuel Alexander on Franco Piavoli’s Nostos: Il Ritorno (1989), his mythopoetic and truly universal interpretation of The Odyssey.
On the Edges of Desire: The Cinema of Isabel Sandoval
Lé Baltar on the cinema of Isabel Sandoval and her exploration of desire as a landscape brimming with the frissons, frictions and contradictions of gender politics and identity.
Towards an Infinite Cinema: An Interview with Isiah Medina
Stephen Kuster speaks with Isiah Medina on his latest film, Gangsterism and a wide range of topics, from Alain Badiou to making and thinking about cinema in an era of live-streamed genocide.
Digging Underground: The Expansive Work of Archivistas Salvajes
Alonso Aguilar on the archival and curatorial collective Archivistas Salvajes and their intrepid and wide-ranging view of Cuban cinemas.
The Energy of the Moment: An Interview with Luke Fowler
Published in English for the first time, Miguel Armas and Mariya Nikiforova spoke with filmmaker Luke Fowler in a far-reaching conversation on his varied film work and its rich bed of influences, methods, associations and personal touchstones.
Stars Over People: Patricio Guzmán’s Nostalgia for the Light
Nguyễn Bình on Patricio Guzmán’s Nostalgia for the Light (2010) and the insights and blindspots of its central analogy, which links the unearthing of the Pinochet regime’s crimes with the cosmic outlook of astronomy.
Palimpsests of Word, Image, Spirit & Power: Ashish Avikunthak on The Killing of Meghnad
Anand Sudha corresponded with Ashish Avikunthak on Avikunthak’s metatextual The Killing of Meghnad (2026), discussing its complex web of source texts and spiritual, political and colonial ideas, which reverberate throughout India’s classical and modern history, right up to this uncertain present moment.
As If the Trees By Their Very Roots Had Hold of Us: The Films of Peter Bundy
Alex Fields on Peter Bundy and how his evolving structuralist approach trained a perceptive eye and ear on the idiosyncrasies and profundities of regional American life and landscapes.
“Cinema is made with blood”—the Super 8 cinema of Teo Hernández
On the occasion of an ambitious retrospective of the work of Teo Hernández at MOMA, which opens tomorrow, Ultra Dogme’s own Maximilien Luc Proctor delves into Hernández’s diaries and films. Illuminating the vivacious and free-spirited life and perspective of one of cinema’s most soul-stirring scapegraces.
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.