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.
Redrawing the Map: Alpe-Adria Underground! (2024) and the Unfolding Histories of Slovenian Experimental Cinema
Mariya Nikiforova writes about Alpe-Adria Underground! (2024), an ambitious chronicle of Slovenia experimental cinema. Nikiforova’s essay digs into the challenges of film historiography while giving a detailed overview of this rich and overlooked heritage.
Illusional Civilization: Bahram Beyzaei’s Journey
Faranak Nateghi on the context and poetics of Journey (Safar, 1972), Bahram Beyzaei’s metaphorical portrait of Tehran as a modern city of dazzling surfaces and transparent class inequality and alienation.
Pleasure Principles: Kalil Haddad on “He Never Dies”
Alexander Mooney speaks with Kalil Haddad about the radical queer form and convictions of his 4 film cycle, He Never Dies.