Editorial
If it has become somewhat of a routine for this journal to cultivate a form of Berlinale bashing (2023, 2024, 2025), this year’s edition of the event played out like a parody. It all started with jury president Wim Wenders stating in a press conference that filmmakers should “stay out of politics.” The comment triggered...Continue Reading{{catlist}}
In his essay on the Polaroids of Andrei Tarkovsky, Gawan Fagard draws parallels between the ontology of the medium and the work of the Russian director.
Mircea Daneliuc, born in 1943, was one of the few Romanian filmmakers resisting the Communist system. Films like Microfone Test (1980) or The Cruise (1981) did not pass censorship for their ridiculing critique...
Daniel Fuller looks at the way a Ukrainian computer game transfigured folkloric processes of remembering, drawing parallels to Andrei Tarkovsky’s Stalker.
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