We will be live-streaming our second special UDVFF program next Friday, February 12th at 8pm Berlin Time (Central European Time).
Review: ‘Preparations to be Together for an Unknown Period of Time’ (2020, dir. Lili Horvát)
Judging by its title, Hungary’s submission for the Oscars may sound mechanical and stiff, but director Lili Horvát’s second feature is anything but.
Diary: Fondly Remembering Festivals
Rounding up a well-overdue collection of memories from this year’s IFFR, Berlinale, and online festivals.
Dogme Year Zero: Microphones in 2020
by Ruairí McCann Knowing no one understands these songs,I try to sing them clearer.Even though no one has ever asked:”What does Mount Eerie mean?”I have tried to repeatedly […]
Film Books Round-up #1
Welcome to the first-ever Ultra Dogme ‘Film Books Round-up’. What I’ve assembled here is a short list of 5 film-focused print publications that I investigated this year and […]
‘Secession From The Broadcast’ by Gene Youngblood
Today we are very excited to share with you the full PDF of a lecture by renowned theorist Gene Youngblood. Titled Secession From The Broadcast, it was first […]
The Value of Intimacy – ‘Divine Love’ and the corporeal cinema of Gabriel Mascaro
by Alonso Aguilar In the oppressive temperatures of rural Brazil, bodies traverse the screen unceremoniously. Detached and absent-minded, different characters go through the motions of hard labor, unfazed […]
Blu Review: ‘Goodbye, Dragon Inn’ (2003) dir. Tsai Ming-liang (Second Run)
by Ruairí McCann In a Taipei caught under a thick canopy of rain, an old late night movie theatre serves as a symbolic shelter. It is the last […]
DVD Review: ‘The Angel Cycle: Selected Works’ by Maria Klonaris + Katerina Thomadaki (Re:Voir Video)
Re:Voir has recently released a modest gem of a set: selected works from The Angel Cycle, by Maria Klonaris and Katerina Thomadaki – the first-ever home video release which samples from the duo’s vast body of work.
Review: ‘Days’ (2020, dir. Tsai Ming-liang) – London Film Festival
by Ruairí McCann Near the end of Tsai Ming-liang’s film Afternoon (2015) — a conversation, filmed across 134 minutes and 4 shots, between Tsai and his muse Lee […]