To look at the design and flaws of American politics and democracy, Wiseman chooses an entire city and its system as his focal point. Gianvito, on the other hand, chooses a single individual, whose life nevertheless encapsulated a tumultuous early 20th century.
Diary: Fondly Remembering Festivals
Rounding up a well-overdue collection of memories from this year’s IFFR, Berlinale, and online festivals.
3 Songs that Got Us Through the Year
As the title suggests, this list collects our contributors’ 3 songs that got them through this hell-year.
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 […]
Compilation: Dogme Year Zero
Hello and welcome to the first-ever crossover episode between Ultra Dogme and Cinema Year Zero.
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 […]
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 […]
Review: ‘Time’ (2020, dir. Garrett Bradley) – London Film Festival
Time (2020) is Garrett Bradley’s second feature and a concept which is explained from manifold points of view and forms of expression.
Review: ‘American Utopia’ (2020, dir. Spike Lee) – London Film Festival
Stop Making Sense (1984) is a cornerstone in the intersection between pop music and cinema; a concert film in which one of the best bands of the fertile crescent that was the post-punk years is at their most ambitious, cohesive and passionate as a live act, captured intelligently by the great Jonathan Demme, also in his prime. In other words, it is a zenith that American Utopia could never be expected to reach.