
Words on avant garde film etc @toneglow, @InRO @ultradogme https://xitter.cf/t.co/pza3vBdn0h etc. Union steward, Appalachian, historical materialist. they/them
Knoxville, TN
Joined September 2014
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I wrote about the revelatory filmography of Peter Bundy, who ought to be known as one of the great American experimental filmmakers of the late 70s/early 80s
Four of his films streaming on Ultra Dogme (online for the first time ever) and others this wknd at Tone Glow Film Fest
Alex Fields on Peter Bundy and how his evolving structuralist approach trained a perceptive eye and ear on the idiosyncrasies and profundities of regional American life and landscapes:
ultradogme.com/2026/05/22/pe…
Dimensional Excursions (Peter Rose)
Periphery of the Base (Zhou Tao)
Rib of the Greater Bay Area (Zhou Tao)
Were All Going to the World’s Fair (Jane Schoenbrun)
Dry Leaf (Alexander Koberidze)
HMs: Caught by the Tides, Memoria, Glimpses from a Visit to Orkney, Laberint Sequences
Alex F 🇵🇸 retweeted
Rhayne Vermette's film Levers is available to watch for free online this month on Equinox Film. It's apocalyptic, enigmatic, and feels relevant to our current times yet somehow exists outside of time. Well worth seeing.
equinox.film/film/levers/
It’s that time of year (the best time of year)
notreconciled.substack.com/p…
Letterboxd version: boxd.it/P1Oas
Every year in the summer I get tired of movies and every year in September I remember that I like them, just in time for October. Send me your seasonal genre deep cuts or festival standouts that I missed
Like her previous film, MUSIC, Angela Schanelec’s MY WIFE CRIES leans heavily on a climactic sequence of musical performance. The difference is this time it’s the best thing in the film (or any recent film?) instead of the worst
It is almost always a good thing when films encourage or even demand that we view and appreciate them in ways outside the normative expectations of narrative film audiences, and ditto when criticism helps us do this, and people who complain about either are losers
the foundational texts of film theory and formal analysis (Arnheim, Balasz et al) are literally written as arguments that film is worth considering as art in the first place, and most subsequent revolutions in theory/crit are rediscoveries of same idea on new analytical planes
SML back on the 2027 Big Ears lineup, SUSS finally absent…my 2026 festival write up is two for two on its goals
ultradogme.com/2026/04/13/bi…












