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MUBI Notebook

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MUBI NotebookCinemaA Style of One’s Own https://www.youtube.com/watch?v=jk6unmAR9CI In this episode, cinematic tradition is explored as a refuge from artistic orphanhood. Valentina Maurel is a Costa Rican screenwriter and director.

MUBI NotebookCinemaFilmmaker Survey | Lance Hammer Juliette Binoche and Tom Courtenay in Queen at Sea (Lance Hammer, 2026). With Queen at Sea (2026), American filmmaker Lance Hammer returns to direct his second film nearly two decades after his…

MUBI NotebookCinemaRushes | Panahi Resentenced to Prison, Mann Shoots Own Leg, Patrick Stewart R.I.P. Get in touch to send in cinephile news and discoveries. To keep up with our latest features, sign up for the Weekly Edit newsletter and follow us @mubinotebook on X and Instagram .

MUBI NotebookCinemaCan This Be Dixie?: Building the Hollywood South Hallelujah (King Vidor, 1929). The American South exists only in the imagination, yet it’s as real as sin.

MUBI NotebookCinemaTIFF: The Market: The Review TIFF: The Market exhibition booth option. At the 51st Toronto International Film Festival (TIFF), which saw the inaugural edition of its official content market, the atmosphere was unmistakably…

MUBI NotebookCinemaThe Action Scene | Impact Factor: The Hong Kong Connection in Contemporary Thai Martial Arts Cinema The Action Scene explores the form, history, and visceral power of action cinema through its set pieces.

MUBI NotebookCinemaMUBI Podcast: Encuentros | “Into the fire” In this episode, ambition, and intuition are explored as signs of vitality in contemporary cinema. Jerónimo Quevedo is an Argentine producer and the founder of Un Puma, a production company through…

MUBI NotebookCinemaMultiplex | Ghoulish Globetrotting Multiplex asks filmmakers, critics, and artists for short-form responses to the topic at hand. In this Halloween edition, contributors from around the world recommend one scary movie from their home…

MUBI NotebookCinemaTender Buttons One Sings, the Other Doesn't (Agnès Varda, 1977). In her memoir, Varda par Agnès , the French director describes herself as “une féministe de terrain plus qu’une discuteuse,” roughly translated as “a…

MUBI NotebookCinemaMore Visible Abroad than at Home: Nigeria’s New Art Cinema and the Country that Can’t Screen It My Father's Shadow (Akinola Davies Jr., 2025). In Lagos last September, a handful of screenings of My Father’s Shadow (2025) played in theaters that were, depending on the night, half empty.

MUBI NotebookCinemaThe Current Debate: The Unbearable Preachiness of Alejandro González Iñárritu's “Digger” The Current Debate connects the dots around a topic of the critical conversation. Digger (Alejandro G. Iñárritu, 2026).

MUBI NotebookCinemaTable of Contents | Notebook Issue 9: “Smoke and Mirrors” "Smoke and Mirrors" is available via direct subscription or in select stores around the world. And now, for our next trick!

MUBI NotebookCinemaRushes | Netflix Fires Chief Content Officer, Soderbergh Takes Over “The Batman Part II,” R.I.P. Eva Marie Saint Get in touch to send in cinephile news and discoveries. To keep up with our latest features, sign up for the Weekly Edit newsletter and follow us @mubinotebook on X and Instagram .

MUBI NotebookCinemaMasao Adachi: Demystifying a Legend Masao Adachi in 2025. Photograph by David Matthew Davis. Masao Adachi is a filmmaker whose reputation well and truly precedes him.

MUBI NotebookCinemaRemake, Remodel, Remarket Cinderella (Clyde Geronimi, Wilfred Jackson, Hamilton Luske, 1950). In the early 2000s, stores including Barneys and Hot Topic briefly stocked saucy T-shirts depicting classic Disney characters…

MUBI NotebookCinemaMovie Poster of the Week | F.W. Murnau’s “Faust” This month, MUBI Editions, in partnership with the Cinématheque Française, is publishing an extraordinary document: a cinephilic Rosetta Stone known as “The Faust Bible.” When, 100 years ago…

MUBI NotebookCinemaMUBI Podcast | “Pulp” Live!: Jarvis Cocker and Garth Jennings Capture the Power of Pop Pulp: What Do You Do for an Encore? is now streaming on MUBI globally. Pop icon Jarvis Cocker and director Garth Jennings ( Sing , 2016) sit down with host Rico Gagliano to talk about their…

MUBI NotebookCinemaWhat the Image Hides: Tai Katō and the Art of Partial Vision LOOKING THROUGH THE ROOM Blood of Revenge (Tai Katō, 1965). In Blood of Revenge (1965), Hatsue, a young woman bound by contract to a pleasure house, wants to see her dying father.

MUBI NotebookCinema“Water Lilies” in One Shot One Shot is a series that seeks to find an essence of cinema history in one single image of a movie. Water Lilies (Céline Sciamma, 2007).

MUBI NotebookCinemaKnow Thyself: Eric Rohmer’s “Élisabeth” Éric Rohmer in Out 1: Noli Me Tangere (Jacques Rivette, 1971). In 1946, the prestigious French publishing house Editions Gallimard published a novel called Élisabeth by a man named Gilbert Cordier.

MUBI NotebookCinemaRushes | Paramount Officially Acquires Warner Bros., Social Media Platforms Reject “Musk,” “You Can See Everything” Trailer Drops Get in touch to send in cinephile news and discoveries. To keep up with our latest features, sign up for the Weekly Edit newsletter and follow us @mubinotebook on X and Instagram .

MUBI NotebookCinemaBumper-to-Bumper Traffic 2026 Toronto International Film Festival sponsorship ad by Rogers. At Cannes, competition screenings are preceded by nothing more than a computer-generated set of red-carpet stairs ascending out of…

MUBI NotebookCinemaLife at Its Wildest: Werner Herzog on “Bucking Fastard” From left to right: Cinematographer Peter Zeitlinger, director Werner Herzog, and stars Rooney Mara and Kate Mara shooting Bucking Fastard (2026). Courtesy of Gateway to Orkney LLC.

MUBI NotebookCinemaMembers Only: Cabal-Core Horror in the 21st Century Salò: Or the 120 Days of Sodom (Pier Paolo Pasolini, 1975). In 2005, during a television interview in Italy, Giuseppe “Pino” Pelosi—AKA “The Frog”—recanted his confession about murdering Pier Paolo…

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About

The small bracket on top of every camera, from a phone rig to an ARRI.

The hot shoe is where the flash goes, and the microphone, and the monitor, and whatever the next decade bolts on. Every camera has one and nobody photographs it. This magazine is named after it because that is where the whole business meets: the body, the glass, the light, the sound, and the person holding it.

I shot news in Gothenburg for nine years and documentary for hire after that, then stopped taking assignments to write about the tools. Since 2021 I live in Tokyo, ten minutes from the used-camera shops of Shinjuku, which is not an accident: Canon, Nikon, Sony, Fujifilm, Panasonic, Ricoh and Sigma make almost everything worth pointing at a subject, and their own press writes about it first, in Japanese. So this magazine reads it there, and in German, French, Italian and Spanish, and in English from the reviewers who actually put a card in the slot — around eighty sources and thirty channels, counted and plotted so you can see what is moving.

Bodies and lenses, cinema cameras and drones, film and the darkroom, firmware and the software that finishes the picture, the rumours before the launch and the reviews after it, and the photographers and shows the rest of it is for. I test what I write about on a job before a word goes down. I shoot film on Sundays and do not think that makes me interesting.

A story here is a headline, a short excerpt, one picture and the link to whoever reported it. We never reprint the article, and the picture belongs to the photographer or the maker. A story written in Japanese appears in Japanese, as its author set it down; the link goes to the original.

— Mara Lindqvist, Tokyo