Editorial
Sixteen years after taking over Chelsea F.C., which has since turned into one of the most recognizable football brands in the world, Russian oligarch Roman Abramovich is trying his luck with a private film fund. With a reported 100 million dollars to spend over the first three years of its activity, the fund hardly constitutes...
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Vol. 95 (May 2019)
Nora Agapi speaks about the idea behind making a film about her relationship with her father, how it reflects her own memories, and what her plans for the future are.
In steering clear from depicting graphic violence in a WWII drama, Russian director Kantemir Balagov keeps his promise to his mentor Alexander Sokurov - almost.
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.
Maria Kuvshinova reflects on the bar set by Ukrainian filmmaker Sentsov for measuring dignity. Sentsov recently went on a hunger strike demanding the release of Ukrainian political prisoners in Russia, where he himself is serving a 20-year sentence.
EEFB's Věra Chytilová issue features our first photo-essay. Made by Indian filmmaker Jessica Sadana, it is a meditation on themes from Chytilová's seminal Daisies.
