Editorial The scenario of a whole society locked up in their homes, with no place to go and no one to meet, seems like a dream come true for already dominant forces of modernday consumerism such as Amazon and Netflix. Home-shipped consumer goods and streaming services can be enjoyed from the “comfort” of your home, and... Continue Reading Vol. 104 (April 2020)

Marek Piwowski’s The Cruise (Rejs, 1970)

Vol. 104 (April 2020) by Julia Weir
Julia Weir revisits this Polish cult film and the story behind its unlikely release.

Vladimir Motyl’s The White Sun of the Desert (Beloye solntse pustyni, 1970)

Vol. 104 (April 2020) by Isaac W. R. Miller
Isaac W. R. Miller revisits Soviet Colonial ideology through a reading of this 1970 classic.

Four Animated Shorts By Ülo Pikkov

Vol. 104 (April 2020) by Mariana Hristova
Four animated shorts by Ülo Pikkov reveal how the Estonian filmmaker deals with traumas from the past.

Jan Komasa’s Corpus Cristi (Boże Ciało, 2019) & Wojciech Smarzowski’s Clergy (Kler, 2018)

Vol. 104 (April 2020) by Colette de Castro
Two recent films from Poland reflect on the role of the church in the 21st century.

Ülo Pikkov on his Films

Vol. 104 (April 2020) by Mariana Hristova
Estonian animation filmmaker Ülo Pikkov returns to the stories and histories of his work.

Wojciech Has: The Silent Rebel

Vol. 46 (October 2014) by Pau Bosch Santos
Pau Bosch Santos places some of Polish director Wojciech Has' artistic approaches in a biographical context.

The Polaroids of Andrei Tarkovsky, 1979-1983

Vol. 17 (May 2012) by Gawan Fagard
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.

Srđan Spasojević’s A Serbian Film (Srpski Film, 2010)

Vol. 78 (October 2017) by Anna Batori
What is the intent and potential rationale behind Srdjan Spasojević's willingly degrading film?

Marta Prus on Over the Limit

Vol. 81 (January 2018) by Moritz Pfeifer
We met Polish filmmaker Marta Prus to speak about her intimate peek beyond the facade of competitive gymnastics.

Symbol and Tradition in Parajanov’s Caucasian Trilogy

Vol. 58 (October 2015) by Moritz Pfeifer
Moritz Pfeifer discusses the symbolic tradition of the pomegranate in the Caucasus and in Parajanov's films.

Věra Chytilová’s Daisies (Sedmikrásky, 1966)

Vol. 28 (April 2013) by Patricia Bass
Patricia Bass compares aspects of Věra Chytilová's Daisies to the American TV-Series The Jersey Shore.

Andrei Butica on Filming Sex

Vol. 78 (October 2017) by Zoe Aiano
We spoke to Romanian cinematographer Andrei Butica on the occasion of our sex-themed issue.

Xandra Popescu and Stefan Constantinescu on their Work

Vol. 11 (November 2011) by Patricia Bass
Patrica Bass speaks to Xandra Popescu and Stefan Constantinescu about their collaboration, and the meaning of visual art in Romania.

Daisies: A Photo Essay

Vol. 88 (October 2018) by Jessica Sadana
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.

Maciej Pieprzyca’s Life Feels Good (Chce się żyć, 2013)

Vol. 41 (May 2014) by Moritz Pfeifer
Maciej Pieprzyca's new film is based on the true story of a boy suffering from cerebral palsy.

Jan Hřebejk’s The Holy Quaternity (Svatá Ctverice, 2012)

Vol. 23 (November 2012) by Anastasia Eleftheriou
Jan Hřebejk’s new film examines the endeavors of two couples to spice up their sex lives.

What Can Oleg Sentsov Die For?

Vol. 85 (May 2018) by Maria Kuvshinova
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.
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