“Spirits return because something in the social fabric was left unfinished—an unacknowledged injustice, a normalized cruelty, a promise broken within a rigid order that leaves little room for repair.”
History into Fear: The Ghosts of Edo
Zeinabu irene Davis
“Surrounded by people who were almost entirely unrepresented in film, Davis found her calling. She returned to the US galvanised — she would dedicate her career to telling their stories.”
Cinema as a Memory of Nature
“Cinema becomes an unofficial archive—not of triumph, but of evidence. It records not what we achieved, but what we allowed to disappear.”
The Flickering Ghost: What Remains When the Projector Goes Dark?
“The greatest films, I have always believed, are empathy machines. They allow us to see the world through eyes that are not our own.” A beautiful love letter to cinema by Amir Zadnemat
The Smoking Fish (El pez que fuma, 1977)
“Frequently claimed by critics as the best Venezuelan film ever made, El pez que fuma, (1977) was produced in the midst of the Oil Boom era and has since become a potent metaphor for the decadence at the height of Venezuela’s economic splendor.”
The Man and The Crowd (1928) Photography, Film, and Fate
Gideon Leek rewatches King Vidor’s classic, in which a young man with big dreams moves to New York City and becomes an identical cog who learns to love the machine of modernity.
Sara Gómez: Her Contribution
“We are alone facing our historical consciousness — that makes us fully responsible, and so the reason for alienation has disappeared. Our work is creative, we live to create — to create something that will exist beyond time, beyond any possible existential anguish, like art. Is that clear?” Thoughts on the work of Cuban filmmaker Sara Gómez.
Olive Borden (on Fig Leaves)
“A month later I am dead. So, girls, if you want my advice, never play Eve, the mother of all men.”
She Packs a Punch: Unmasking a Feminist History of Luchadora Moviess
“She underscores their relevance as social, cultural, and economic barometers for a changing Mexico, countering the historical amnesia that surrounded this vibrant cinematic heritage.”
Fruits of Labor: The Beginning of The Cinema of Moral Concern
Agnieszka is battling a country that refuses to accept its past, and thus cannot learn from its repeated mistakes.
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