Editorial

Vol. 47 (November 2014) by Editors

Thessaloniki 2014

Vol. 47 (November 2014) by Editors
Live coverage from the Thessaloniki International Film Festival (October 31-November 9).

Želimir Žilnik on the Black Wave

Vol. 47 (November 2014) by Anastasia Eleftheriou
Žilnik speaks about the Yugoslav Black Wave, his film “Fortress Europe”, and discrepancies between Yugoslav reality and contemporary Serbia.

Isa and Donat Qosja on Three Windows and a Hanging

Vol. 47 (November 2014) by Anastasia Eleftheriou
We met with Kosovan director Ivan Qosja and his son Donat, who plays the main character in his father’s new film.

Ivan Tverdovsky on Corrections Class

Vol. 47 (November 2014) by Anastasia Eleftheriou
We met Ivan Tverdovsky and talked to him about the production process of his new film and the Russian educational system.

Wojchiech Jerzy Has’ The Saragossa Manuscript (Rękopis znaleziony w Saragossie, 1964)

Vol. 47 (November 2014) by Konstanty Kuzma
Konstanty Kuzma discusses whether this Polish classic can be seen as a work of Enlightenment, whether it counts as surrealist and what these two opposing mindsets have in common.

Wojchiech Jerzy Has’ The Noose (Pętla, 1957)

Vol. 47 (November 2014) by Pau Bosch Santos
Pau Bosch Santos analyzes how Wojciech Jerzy Has portrays aspects of addiction in their relation to time.

Aleksandra Gowin and Ireneusz Grzyb’s Little Crushes (Małe stłuczki, 2014)

Vol. 47 (November 2014) by Julia Zelman
Julia Zelman recognizes traces of Truffaut's Jules et Jim in Little Crushes but criticizes the film's loose plot line.

Wojciech Smarzowski’s The Mighty Angel (Pod Mocnym Aniołem, 2014)

Vol. 47 (November 2014) by Paulina Duda
Paulina Duda makes a case for Smarzowski's new film and argues that much of the film's credit should go to its editor.

Grzegorz Jaroszuk’s Kebab & Horoscope (Kebab i horoskop, 2014)

Vol. 47 (November 2014) by Jack Page
Jack Page analyzes two clashing ways in which the film depicts how to run a business.
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