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 […]
Movie Club #3: ‘Darkness, Darkness, Burning Bright’ (2022) by Gaëlle Rouard
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 […]
Oil and Water: Three Films by Nikos Nikolaidis
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 […]
Fox Maxy: Framing the Land
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. […]
Gina Telaroli: Reimaging
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 […]
Helke Misselwitz: Moving East to West Amidst the Sperrmüll
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 […]
In and Out Front of You: An Interview with Tenzin Phuntsog
A.E. Hunt speaks with artist Tenzin Phuntsog about his works at the Berlinale Forum Expanded, showing through March 5th.
The Raw and the Cooked: Larry Gottheim’s ‘Corn’ (1970)
Corn captures a static, but never contained view of an ordinary moment in the kitchen, accounting for the ways in which evening sunlight falls into the room and emanating vapor textures the air.
Around The World in 14 Films: ‘When The Waves Are Gone’, ‘EO’ and ‘Trenque Lauquen’
by Florian Weigl One way to test the cinephile mettle of a country is to go to its most prominent festival of festivals. Canada and Toronto have TIFF, […]