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3 weeks ago | 
dustmagazine.com | Luigi Vitali
Dea Kulumbegashvili is a Georgian filmmaker of Ossetian descent. After studying Media at The New School and Film Directing at Columbia University, she made history with her debut short, Invisible Spaces (2014), the first independent Georgian film to compete at Cannes. Her follow-up short, Léthé (2016), premiered at the Directors’ Fortnight in Cannes.
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2 months ago | 
dustmagazine.com | Paul Kircher |Luigi Vitali
Drømmer, the latest feature by Norwegian director Dag Johan Haugerud, has won the Golden Bear at the 75th Berlin International Film Festival. Third film in a trilogy (Sex, Love, Dreams), Drømmer is a brilliant, formally inventive work that reshapes cinematic grammar into something fresh, immersive, and incredibly smart. At its core is Johanne, a 17-year-old girl overwhelmed by an intense desire for her female teacher.
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2 months ago | 
dustmagazine.com | Paul Kircher |Luigi Vitali
One of the new geniuses of European cinema, fresh off the breakout success of Do Not Expect Too Much from the End of the World, instead of scaling up—as any director in his position might—strips everything down, shooting in just 10 days on an iPhone 15, with no lights, no grips, no budget.
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Mar 4, 2025 | 
dustmagazine.com | Luigi Vitali
About World-Building and Black Quantum FuturismEdward Buchanan in conversation with Moor MotherCamae Ayewa, known as Moor Mother, is a multidisciplinary artist, poet, musician, and activist from Philadelphia whose work redefines creativity and its impact on Black communities. As co-founder of Black Quantum Futurism (BQF) with Rasheedah Phillips, Moor Mother explores the concept of time, drawing on a fusion of quantum physics, Afro-diasporic traditions, and practical community action.
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Feb 24, 2025 | 
dustmagazine.com | Luigi Vitali
Tilda / BellaTilda Swinton in conversation with Bella FreudTilda Swinton needs no introduction. A cultural icon, the Scottish actress has redefined cinema with her androgynous beauty and fearless performances.
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Feb 24, 2025 | 
dustmagazine.com | Luigi Vitali
Paul Kircher in conversation with Ludovic and Zoran BoukhermaPaul Kircher, born on December 30th, 2001, grew up in a family of actors. His mother, Irène Jacob, is renowned for her role in Kieslowski’s Three Colors: Red, while his father, Jérôme Kircher, has had a career in both film and theatre. Acting runs in the Kircher family.
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Feb 24, 2025 | 
dustmagazine.com | Luigi Vitali
What if we could uncancel the future? Rob Hopkins, a pioneer in sustainability and community-driven change, believes that the future isn’t something we stumble upon—it’s something we actively create or fail at. At the heart of his work lies a question: what happens when we lose the ability to imagine a better world? For Hopkins, imagination is more than just creativity—it’s a survival tool essential for unlocking the sustainable, resilient, and equitable futures we are desperately in need of.
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Feb 20, 2025 | 
dustmagazine.com | Luigi Vitali
In a political landscape increasingly marked by division and stagnation, Volt Europa stands out as a rare source of excitement, offering something refreshingly different: a pan-European movement led by motivated and competent young leaders who dare to articulate a bold, positive vision for the future and, crucially, a pragmatic path to achieve it.
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Feb 8, 2025 | 
dustmagazine.com | Anders Christian Madsen |Eugene Rabkin |Luigi Vitali
Forensic Gazes, Death and Smiling for a PhotographA text by Xaver KönnekerThis piece explores how visual artist Xaver Könneker, during his research into urban loneliness, uncovered a unique relationship between smiling for the camera, a Kodak in this case, and the forensic identification of the deceased. His original study, Kodak Knows No Dark Days: Forensic Gazes, Death and the Photographed Smile, was published in 2021 and inspired a multi-channel video installation in 2022.
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Feb 7, 2025 | 
dustmagazine.com | Luigi Vitali
The future hasn’t vanished from our horizon due to fears, crises, or uncertainty—it’s gone because we gave up imagining it. As climate collapse looms, wars escalate, inequality deepens, unchecked technology threatens, and liberal democracies falter, we remain fixated on the past, trapped in a nostalgic loop, unable to envision anything better or different. The future hasn’t been stolen—it’s been quietly erased from our aspirations.
