The Spring/Summer issue of Port – featuring Spike Lee, Joseph Quinn, Celeste, Tahar Rahim, John Malkovich, Ebon Moss-Bachrach, David Oyelowo and John Turturro, photographers Maripol, Claire Shilland, Quil Lemons, Alec Soth, Samuel Bradley and Gabby Laurent, writers Charlie Brinkhurst-Cuff, Lakeisha Goedluck, Jason Okundaye and Precious Adesina, artists Caroline Walker, Sue Tilley and Leigh Bowery, plus writing from Danielle Pender, Camilla Grudova, Roísín Lanigan and Vincenzo Latronico.

Seven bold cover stories anchor Port Issue 36, which explores the ever-shifting idea of family. Joseph Quinn speaks with fellow actor Ebon Moss-Bachrach about navigating Hollywood, and the camaraderie that makes the work worthwhile. In Mother of Motherland, Ukrainian women share powerful testimonies of motherhood amidst war, captured by Gaby Laurent with creative production by Eugenia Skvarska. Tahar Rahim reflects on his most intense roles – from A Prophet to Monsieur Aznavour – while being photographed by the legendary Maripol. Celeste opens up about her upbringing and creative roots; David Oyelowo discusses legacy and purpose; and John Malkovich shares reflections on fatherhood and performance in a Q&A with Port, shot by Alec Soth. Spike Lee is also captured by his daughter Satchel Lee, a fitting visual nod to intergenerational creativity.

Elsewhere, Megan Wallace interviews Sue Tilley about friendship and the creative legacy of Leigh Bowery; Caroline Walker paints a portrait of caregiving; and Kyle Turner unpacks sci-fi and the occult as alternate blueprints for queer family, belonging and resistance. Port also hears from four young filmmakers supported by the Spike Lee Film Production Fund as they reflect on identity, mentorship and the stories they’re compelled to tell.

In Portfolio, shot by Port’s kids using disposable cameras, Roísín Lanigan considers the kitchen as the communal heart of the home, while Marimekko’s Rebekka Bay unpacks her nomadic ‘everything drawer’. Kyle Abraham speaks to Jason Okundaye about choreography as family history, and Jenna Mahale reflects on The Virgin Suicides 25 years on, revisiting its vision of sisterhood, girlhood and yearning.

For Commentary, Danielle Pender writes on the dislocation of returning home and how family dynamics recalibrate over time, Vincenzo Latronico discusses the millennial expat dream, and Hiromi Kawakami envisions a distant future where humanity teeters on extinction. Camilla Grudova also contributes an original story that follows Milda, a woman released from prison to marry a stranger in a dystopian state experiment.

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