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Editorial

Vol. 1 (January 2011)

Editors

The prominence of Eastern European films at international film festivals and the New Wave in Romania have added to the popularity of Eastern European cinema. While many Eastern European directors were exposed to significant practical and creative restraints until the fall of the iron...
Editorial

Vol. 2 (February 2011)

Editors

From the 10th to the 20th of February, the International Film Festival in Berlin (Berlinale) will be held for the 61st time. Several Eastern European films will be screening in and out of competition, among the selection of films running for the main prize...
Editorial

Vol. 3 (March 2011)

Editors

In March, EEFB continues to focus on Romanian cinema with three films that highlight different aspects of Romanian society. Love Sick by Tudor Giurgiu tells the story of three young students who are caught in a love triangle, Kapitalism: Our Improved Formula by Alexandru...
Editorial

Vol. 4 (April 2011)

Editors

This month, EEFB looks at the way different Eastern European directors deal with political subjects in their films. In Morgen, Marian Crişan exposes the capacities of human relationships in the face of illegal immigration. Essential Killing, a film by Polish director Jerzy Skolimowski, questions...
Editorial

Vol. 5 (May 2011)

Editors

This month, we are at the 64th Cannes Film Festival that takes place from May 11th to May 22nd. We will be looking at Bakur Bakuradze’s The Hunter, Catalin Mitulescu’s Loverboy, and Andrey Zvyagintsev’s Elena that are all part of the Un Certain...
Editorial

Vol. 6 (June 2011)

Editors

In June, we are at the 10th Transilvania International Film Festival that takes place in Cluj from June 3rd to June 12th. As some of our readers may know, EEFB’s focus for 2011 is Romania. We look forward to report from Cluj and complement our...
Editorial

Vol. 7 (July 2011)

Editors

This month’s issue is focused on Romanian director Cristi Puiu. The director of Stuff and Dough, The Death of Mr. Lăzărescu, and Aurora is considered by many as one of the founding fathers of the Romanian New Wave, although he often denies that something...
Editorial

Vol. 8 (August 2011)

Editors

In this this month’s issue we follow up on our 2011 Romanian focus by shedding a light on the work of Romanian directors who have been given little attention amidst the Romanian New Wave discussions that emerged in the last couple of years. While the...
Editorial

Vol. 9 (September 2011)

Editors

This month we are attending the 68th Venice Film Festival that takes place from August 31st to September 10th. Among the selection of films running for the main prize is Alexander Sokurov’s highly anticipated feature Faust, the last piece in Sokurov’s tetralogy on the...
Editorial

Vol. 10 (October 2011)

Editors

This month we continue our 2011 focus on Romanian cinema by looking at the work of Adrian Sitaru. After graduating from the U.N.A.T.C film school, Sitaru made his debut feature with Hooked in 2007. In Hooked, a couple sets out on a weekend trip...
Editorial

Vol. 11 (November 2011)

Editors

Video art is often considered an outsider. It is neither accepted by the film industry, as it is definitely not for the masses, nor does it seem to flourish in museums. People rarely take the time to look at displayed videos in the world’s...
Editorial

Vol. 12 (December 2012)

Editors

Our 2011 focus on Romania is slowly coming to an end. Above, you can gain access to a selection of our coverage that started with the launch of our website in January. This year’s highlights from Romania were Adrian Situaru’s Best Intentions that took...
Editorial

Vol. 13 (January 2012)

Editors

Following our focus on Romanian cinema with which we launched our journal in 2011, EEFB will draw special attention to the Balkan region in 2012. Interested in depicting the region in its entirety, we intend to go beyond the political borders of ex-Yugoslavia, examining...
Editorial

Vol. 14 (February 2012)

Editors

This month, EEFB is looking forward to report from the 62th edition of the Berlin International Film Festival. In this year’s competition, Hungarian director Bence Fliegauf will present Just The Wind. The Panorama section features Srdjan Dragojevic’s Parada, Teona Strugar Mitevska’s The Woman Who...
Editorial

Vol. 15 (March 2012)

Editors

This month, we continue our 2012 focus on the Balkan with two recent films. Moritz Pfeifer analyzes Angelina Jolie’s debut feature In the Land of Blood and Honey which is set around the Yugoslav Wars – Angelina Jolie’s film triggered many controversies. Journalists were...
Editorial

Vol. 16 (April 2012)

Editors

For this month’s issue, EEFB looked at the different ways in which Eastern European films deal with history. Moritz Pfeifer saw the animated feature Alois Nebel from the Czech Republic. Though Tomáš Luňák’s drama is set in 1989, the film is also concerned with...
Editorial

Vol. 17 (May 2012)

Editors

This month, EEFB is reporting live from the 65th edition of the Festival de Cannes that will take place from May 16th to May 27th. Among the films selected for the main competition are Cristian Mungiu’s Beyond the Hills and Sergei Loznitsa’s In the...
Editorial

Vol. 18 (June 2012)

Editors

This month, EEFB looked at some documentaries screened during the first edition of Le Festival des Films Documentaires Roumains in Paris. Colette de Castro examined John, how’s the construction site? and Panc, two documentary shorts by Sabina Pop. Alina Popescu talks about Ovidiu Bose...
Editorial

Vol. 19 (July 2012)

Editors

For this month’s issue, EEFB looked back at some films screened during the Transilvania International Film Festival last month. Alina Popescu saw Tudor Giurgiu’s Of Snails and Men – a comedy set in 1992 in which 1000 workers from a Romanian factory donate their...
Editorial

Vol. 20 (August 2012)

Editors

For this month’s issue, EEFB looked at two animation films, both made by female directors. The first films are united under the title Les contes de la ferme from the French distribution company that recently made the films available in French theatres and on...
Editorial

Vol. 21 (September 2012)

Editors

We are happy to announce that on the 15th of September, EEFB will launch a new section with a guest contribution from Miško Šuvaković (University of Arts, Belgrade). The Essay section will feature ten yearly guest contributions from acclaimed film scholars and journalists...
Editorial

Vol. 22 (October 2012)

Editors

Alina Popescu saw The Other Irene (2009) by Romanian director Andrei Gruzsniczki – a modern, minimalist drama starring Andi Vasluianu. For our Retrospectives section, Moritz Pfeifer speaks about Prague Seamstresses, a 1929 comedy from Czechoslavakia which revolves around a young, unmarried wife. Konstanty Kuzma...
Editorial

Vol. 23 (November 2012)

Editors

We are happy to announce that EEFB is attending the 53rd Thessaloniki International Film Festival which will take place from November 2nd to 11th. For our current issue, we saw Out of Frame by Yorgos Zois, a Greek short that documents everyday reality in modern-day...
Editorial

Vol. 24 (December 2012)

Editors

This month, our 2012 focus on Balkan cinema concludes. After our journal launched in 2011 with a focus on Romania, the Balkans were a difficult region to handle. While Yugoslav cinema from the 1950s onwards offers valuable cinematic works from different genres, styles and...
Editorial

Vol. 25 (January 2013)

Editors

After our journal focused on Romanian cinema in 2011 and the Balkan region in 2012, we turn to Hungarian films in 2013. Hungary has been making bad headlines these past few years. Since Viktor Orban became prime minister with his center-right party Fidesz in 2010,...
Editorial

Vol. 26 (February 2013)

Editors

Last week, we gave a short ouline on the political situation in Hungary in our Editorial. Today, we turn to media politics, thus hoping to round off our contextual introduction to the country that forms our regional focus in 2013. As mentioned last week, the...
Editorial

Vol. 27 (March 2013)

Editors

Last month, EEFB was at the Berlin International Film Festival (Berlinale) to cover the event for the third time in a row. While we welcomed the jury’s founded decision to award Child’s Pose by Romanian director Calin Peter Netzer with the festival’s main prize,...
Editorial

Vol. 28 (April 2013)

Julia Zelman

This month, we take a short break from our 2013 regional focus on Hungary, instead travelling to the Czech Republic, where we met three filmmakers who were involved in the Czech New Wave, also looking at some films that give us an idea of...
Editorial

Vol. 29 (May 2013)

Editors

After our Czech interlude in April, EEFB turns back to the entire region this month, focusing on political topics as addressed in recent productions. When studying Eastern European cinema before 1989, one finds political filmmaking at a difficult, but crucial position: as the state apparatus...
Editorial

Vol. 30 (June 2013)

Editors

This month, EEFB is attending the Transilvania International Film Festival (May 31-June 9). In our editorial, we turn back to policits in Hungary, the country that forms our regional focus in 2013. The country’s recent economic recovery is good news with bad timing: with...
Editorial

Vol. 31 (July 2013)

Editors

In our May editorial, we noted how we were surprised about Hungarian filmmakers being less passionate about criticizing Viktor Orban and his government than we had anticipiated. Réka Kincses, whom we met during last month’s Transilvania International Film Festival, stood behind this stance, asserting...
Editorial

Vol. 32 (August 2013)

Editors

This month, Professor Beth Holmgren (Duke University) contributes to our Essay section with a piece entitled Lives of Secret Others. In her essay, Holmgren argues that Eastern European films about secret agents (unlike many from the West) are made without a secret fascination for...
Editorial

Vol. 33 (September 2013)

Editors

Our decision to turn to Hungary for our regional focus in 2013 was in large part informed by the difficult state of cinema in the country. This difficulty is twofold. Firstly, the government of prime minister Viktor Orban, who came to power with his...
Editorial

Vol. 34 (October 2013)

Editors

A lot seems to have happened in Hungarian cinema in the past few months. While in recent editorials, we have mostly thought about the government vs. film fund analogy as it applies to Prime Minister Viktor Orban’s system and the country’s film fund, national...
Editorial

Vol. 35 (November 2013)

Editors

This month, we look back at our coverage of Hungarian cinema, our regional focus in 2013, which will conclude with a special video art issue in December. In 2014, we will turn to Poland. After travelling to Romania (2011) and the Balkans (2012) in the...
Editorial

Vol. 36 (December 2013)

Editors

After summing up our “Hungarian year” in our previous Editorial, and before launching our regional focus on Poland in January, we turn to the problem of national (Hungary, Poland, Czech Republic etc.) and transnational denominations (Eastern Europe, in particular) as they relate to our...
Editorial

Vol. 37 (January 2014)

Editors

In, 2014 EEFB will pay special attention to Poland’s cinematic landscape. After travelling to Romania (2011), the Balkan region (2012) and Hungary (2013) in the first three years of our journal’s existence, Poland is the first country in our focus with a relatively stable...
Editorial

Vol. 38 (February 2014)

Editors

Colette de Castro and Konstanty Kuzma will be at the Berlinale (February 6-16) to cover the event for EEFB. In this month’s editorial, we offer a short outline of film politics in Poland. In both Czechoslovakia and Poland, Socialist rule after 1945 coexisted with an...
Editorial

Vol. 39 (March 2014)

Editors

Polish Focus 2014: After briefing our readers on Polish film politics since 1989, we turn to regular politics in this month’s editorial, offering a short outline of some recent developments. Though many Poles lament a lack of influence on European politics (the voter turnout at...
Editorial

Vol. 40 (April 2014)

Editors

National film funds are odd institutions: run by bureaucrats, if experienced ones, they allocate state money to projects supposedly worth funding. In other words, they claim objectivity in assigning an aesthetic value to a project, and, henceforth, a corresponding sum needed to realize that...
Editorial

Vol. 41 (May 2014)

Editors

Last month, we examined the activity of film bureaucrats (in Poland and Romania) who are first to decide about the aesthetic value of projects and deliberate whether they are worth making. Today, we make a short excursion into institutionalised judgements about the quality of...
Editorial

Vol. 42 (June 2014)

Editors

Romanian Film Promotion (APFR) has launched a campaign together with the Transilvania International Film Festival (TIFF) to prevent the disappearance of movie theatres in Romania. The fact that both APFR and TIFF are headed by Romanian Tudor Giurgiu, who is also a succesful director...
Editorial

Vol. 43 (July 2014)

Editors

When The Economist published its laudatory special report on Poland on the 28th of June 2014, the country was in the middle of a taping scandal that has shaken the political landscape repeatedly in the past few weeks, revealing compromising conversations involving some...
Editorial

Vol. 44 (August 2014)

Editors

The permanent Topography of Terror Documentation Center in Berlin, which documents the main origins, techniques and consequences of Nazi terror, is hosting a temporary exhibition on the Warsaw Uprising in 1944. The exhibition opened under the patronage of Bronisław Komorowski and Joachim Gauck, the...
Editorial

Vol. 45 (September 2014)

Editors

Poles who helped Jews survive the Holocaust are to be honored with a monument in Warsaw. The winners of the call for proposals were announced in spring, while construction is scheduled to start in 2015. Until then, discussions regarding the legitimacy of the project...
Editorial

Vol. 46 (October 2014)

Editors

Can the great literary works be adapted for the big screen in a satisfying way? Aren’t many of them too elusive, prosaic, stylistically driven? Until a director proves the opposite, many viewers unhappy with cinematic adaptations will continue appealing to such misgivings in order...
Editorial

Vol. 47 (November 2014)

Editors

Before we sum up our take on Polish cinema presented during our 2014 regional focus in our December editorial, it is worth turning towards Poland’s adventurous political scene one last time. Though the final results of the local elections that took place on November...
Editorial

Vol. 48 (December 2014)

Editors

In 2015, EEFB will shift its regional focus from Poland to the South Caucasus region (Armenia, Azerbaijan, Georgia). In this month’s editorial, we sum up the findings, observations and questions that emerged on our website in one year of covering Poland – a year...
Editorial

Vol. 49 (January 2015)

Editors

In 2015, we shift our regional focus to the cinemas of Armenia, Azerbaijan and Georgia – the three South Caucasian republics. After summing up the findings of our Polish year in our December editorial, we now offer you a sketch of film politics and...
Editorial

Vol. 50 (February 2015)

Editors

Last month, we launched our 2015 regional focus on the South Caucasus with a briefing on film politics and recent developments in the region’s cinematic landscape. This month’s editorial looks at the main off-screen problems that documentary filmmakers recognize in the region. If one approaches...
Editorial

Vol. 50 (February 2015)

Editors

The dry humor of Eastern European comedies made under Communism has gained such notoriety that many have come to see it as a regionally specific phenomenon. Sure enough, the ambiguous sobriety with which directors reconstructed the political system they were facing – and, if...
Editorial

Vol. 52 (April 2015)

Editors

Is cinema quite as good as it used to be 50 years ago? There are various ways of polemizing that question, which seems both too great in scope and too vague in its supposed criteria to incite a meaningful debate. That said, there are...
Editorial

Vol. 53 (May 2015)

Editors

As editors of a journal whose area of interest is geographically localized, we’ve had to repeatedly face the question how one should determine a film’s origin. In order to try and do justice to the diversity of Central, Eastern and South-Eastern Europe (hereafter simply...
Editorial

Vol. 54 (June 2015)

Editors

Can TV save European cinema? That is what TV and film director Agnieszka Holland suggested in a recent interview with this journal, in which she states the need for European film to regain a cinema of the middle, “professionally well-made films with powerful stories...
Editorial

Vol. 55 (July 2015)

Editors

When we last met Corneliu Porumboiu for an interview during the Cannes film festival in 2011, he already spoke of a “good period” for Romanian filmmakers. Since then, Romanian cinema’s reputation has been further strengthened, with films such as Cristian Mungiu’s Beyond the Hills...
Editorial

Vol. 56 (August 2015)

Editors

Identity politics take up a prominent role in the Caucasus, where national and ethnic boundaries have forever been in flux. Though the definition wars which they entail are most commonly associated with nationalist politics, they also take place in scholarly debates, where the claim...
Editorial

Vol. 57 (September 2015)

Editors

In Otar Iosseliani’s 1975 feature film Pastorale, a quartet travels from Georgia’s capital to the countryside to find peace to practice. As Konstanty Kuzma writes in his review for this month’s issue, the rehearsal sessions are not only an occasion for the professionals to...
Editorial

Vol. 58 (October 2015)

Editors

In last month’s editorial, we noted how Otar Iosseliani’s Pastorale uses the theme of music and its collective character in particular to launch a large-scale attack on urban individualism – an anti-Soviet critique that we think easily applies to capitalism as well. For a...
Editorial

Vol. 59 (November 2015)

Editors

Several films in this month’s issue are made up of diverse episodes which are often just loosely related. In Dalibor Matanić’s High Sun, three distinct stories retrace the Balkan’s difficult period from the early 1990s until today. Though the film always revolves around couples...
Editorial

Vol. 60 (December 2015)

Editors

This month’s issue concludes our 2015 regional focus on the Caucasian cinemas. We look back at a year of coverage which saw conflicts between new and old flare up time and again in economical, political and social contexts across films from the region. As...
Editorial

Vol. 61 (January 2016)

Editors

In what is already the sixth year of our journal’s existence, EEFB’s regional focus 2016 will be on the Baltic cinemas. As was the case last year, when we payed special attention to films from Armenia, Azerbaijan and Georgia, we again face the challenge...
Editorial

Vol. 62 (February 2016)

Editors

On May 16th 2015, the national film centers of Estonia, Latvia and Lithuania signed a mutual cooperation agreement that is meant to reinforce existing collaborative efforts. Following a trilateral cultural program launched in 2014, this should boost co-productions across the board, allowing filmmakers and...
Editorial

Vol. 63 (March 2016)

Editors

The Berlinale has long payed special attention to films originating from the former Eastern bloc. In an apparent attempt to assist the region in its effort to break free of its difficult historical legacy (which eerily resembles the philosophy of mogul-turned-philanthropist George Soros), this...
Editorial

Vol. 64 (April 2016)

Editors

Othering, the act of defining oneself against others and thereby rendering those others different from the self, is a term which was only coined in the 20th century. It was Jacques Lacan who introduced the Other as a key term into psychoanalysis, notably to...
Editorial

Vol. 65 (May 2016)

Editors

Thirty years have passed since the catastrophic accident at the Chernobyl nuclear power plant happened. The multi-state country that once housed the plant – the Soviet Union – has since broken up into fifteen nation states; the iron curtain has rusted and traveled eastward....
Editorial

Vol. 66 (Summer 2016)

Editors

Directors who enter the tested terrain of dealing with Europe’s Communist past often face a dilemma: they can either resort to outright satire by picking up redundant cliches about the system’s disfunctionality and naive propaganda, or drift into nostalgia by opposing such a onesided...
Editorial

Vol. 67 (September 2016)

Editors

In past editorials, we have repeatedly advanced the thought that a country’s way of handling its film fund is a revealing initiation into its political landscape more generally. Thus, the appointment of a film commissioner with almost single-handed authority over funding decisions by Viktor...
Editorial

Vol. 68 (October 2016)

Editors

The recent opening of the ParkLake Shopping Center– a 70 000 square meter mall situated in the middle of a residential area in Bucharest – may seem to have an unlikely benefactor: the Romanian film industry. For ParkLake, which is being marketed as a...
Editorial

Vol. 69 (November 2016)

Editors

Among the wide range of historical films that have been discussed on our website over the years, one strand has proved particularly elusive. These are films which feign a sense of self-critical air and, by extension, transparency, but which are in truth impossible to...
Editorial

Vol. 70 (December 2016)

Editors

This month’s issue completes our 2016 regional focus on the Baltics. As was announced in our opening editorial of the year, our aim in turning towards all three Baltic states at once was not to claim a unitary, filmic identity (identity politics mostly being...
Editorial

Vol. 71 (January 2017)

Editors

In the 7th year of our journal’s existence, we will be turning our attention towards the Czech Republic. After our 2016 regional focus on the Baltics, this marks a stark transition from a region in which the film infrastructure is still in the process...
Editorial

Vol. 72 (February 2017)

Editors

EEFB’s history with the Berlinale has been a mixed one. In spite of our journal’s mission to use cinema as a device for unveiling economic, social and political transformations across Eastern Europe, it is precisely the more political films that have caused distrust among...
Editorial

Vol. 73 (March 2017)

Editors

Almost a year after our special issue on Othering, which was published in April 2016, the topic is again a core theme to several of the films that make up this month’s coverage. This is so though this year’s edition of the goEast film...
Editorial

Vol. 74 (April 2017)

Editors

Europe is bracing itself for another battle between the economic elite and advocators of national resentment. Only a month after Viktor Orban conjured that same conflict by attacking George Soros through his Central European University, implicating uninvolved academics in the process, the next showdown...
Editorial

Vol. 75 (May 2017)

Editors

Last year, we published a review of Vitaly Mansky’s Under the Sun, in which we pointed out how the film revealed views of the country beyond both its propagandist facade and its equally one-sided depiction in international media. Originally commissioned with contributing to that...
Editorial

Vol. 76 (Summer 2017)

Editors

In last month’s editorial, we pointed out how film criticism is sometimes able to lay bare readings of films the makers themselves are not aware of. Following this line of thought, critics help conceptualizing a film’s true complexity by complementing the filmmakers’ limited perspective...
Editorial

Vol. 77 (September 2017)

Editors

Does Eastern Europe have a problem with racism and xenophobia? Even the articulation of that question seems offensive in today’s climate of resentment and agitation. In Poland, it is Germans, Russians, refugees, Muslims and Jews who have been subject to recent tides of anger,...
Editorial

Vol. 78 (October 2017)

Editors

This month’s issue is dedicated to a theme so diverse and eclectic one can be skeptical whether it can be subsumed under the single heading we chose – “sexuality on screen”. As our contributions reveal, sexuality can be deployed on screen to shock, arouse,...
Editorial

Vol. 79 (November 2017)

Editors

Our review of Tereza Nvotová’s The Lust for Power for this month’s issue brings out a tension within contemporary cinema that is becoming more and more grating. On the one hand, filmmakers are trying to instrumentalize cultural origins as distinctive features that make them...
Editorial

Vol. 80 (December 2017)

Editors

This month's issue completes our 2017 regional focus on the Czech Republic. Aside from a few stylistically daring films which elude categorization (a phenomenon which luckily attends each of our regional focuses), our view of the Czech film landscape brought out two dominant strands...
Editorial

Vol. 81 (January 2018)

Editors

Though the Czech Republic and Slovakia are inextricably intertwined both through their past and proximity, we chose to study their relevant cinemas in separate years in an effort to not let individual trends be blurred by the big picture. This is why in 2018...
Editorial

Vol. 82 (February 2018)

Editors

The death of Ján Kuciak and Martina Kušnírová has sparked mass protests in Slovakia, a country widely believed to be stuck in political lethargy. Kuciak was an investigative journalist who linked Slovak politicians to the mafia, which the police believe is the reason for...
Editorial

Vol. 83 (March 2018)

Editors

Already five years have passed since EEFB's Moritz Pfeifer deliberated on the recent trend to make historical biopics not on the lives of statesmen or spiritual leaders, but of intellectuals. As Aleksei German Jr.'s Dovlatov indicates (covered in this month's issue), this trend continues...
Editorial

Vol. 84 (April 2018)

Editors

In this month's issue, we returned to the Prague Spring as part of our media partnership at the goEast film festival in Wiesbaden (April 18-24), where the late 1960s events were commemorated with a special selection of films. Among these films - both new...
Editorial

Vol. 85 (May 2018)

Editors

Subjective cinema has long entered the standard repertoire of filmmakers as an original way of breaking rather than transcending the fourth wall. In Eastern Europe, the method has recently been particularly popular with documentarians, who have used it to address topics as diverse as...
Editorial

Vol. 86 (Summer 2018)

Editors

On the 21st of August 2018, commemorative events were held to mark the 50th anniversary of Czechoslovakia’s invasion by Warsaw Pacts troops. The fact that Czech president Miloš Zeman, a champion of provocation and self-staging, stayed away from the commemorations as his Slovak counterpart...
Editorial

Vol. 87 (September 2018)

Editors

For a film journal whose self-understanding is decidedly socio-political, publishing a special issue on “politics” is almost a tautological act. Which of our three latest special issues – on sex, on war & genocide, and on Chernobyl – are anything but political? And yet...
Editorial

Vol. 88 (October 2018)

Colette de Castro

In collaboration with the Czech and Slovak Film Festival of Australia (CaSFFA) and on the occasion of its recent retrospective, the East European Film Bulletin brings you this issue dedicated to Czech film-maker Věra Chytilová. CaSFFA's retrospective was presented as a season entitled "Original...
Editorial

Vol. 89 (November 2018)

Editors

The periods leading up to WWI and WWII have become recurrent reference points for intellectuals interested in diagnosing our times. Rampant nationalism, growing inequality, the failure to overcome the consequences of financial crisis, calls for authoritarianism, and a polarized political landscape, are just a...
Editorial

Vol. 91 (January 2019)

Editors

Filmmaking output is at a record high in Ukraine, the country whose cinematic culture will form our regional focus in 2019. PM Volodymyr Groysman promised that state support for domestic films would reach over 30 million Euros this year. The government is also launching...
Editorial

Vol. 92 (February 2019)

Editors

On February 17th, another poorly received Berlinale drew to a close. It was the last edition under the 18-year direction of Dieter Kosslick, the not-so-mad hatter with his stiff appearance and slightly forced bravado. Reigning during a period of growth and international repositioning, over...
Editorial

Vol. 93 (March 2019)

Editors

In Central, Eastern and South-Eastern Europe, the battles of WWII are being refought on the big screen multiple times a year – all this fighting coming with the support of and often even at the behest of the state. In Poland, WWII films have...
Editorial

Vol. 95 (May 2019)

Editors

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...
Editorial

Vol. 96 (Summer 2019)

Editors

In the Czech Republic, Poland and Slovakia, the recent crimes and misdemeanors of governing politicians have provoked the burgeoning of a new culture of mass protest. In Slovakia, where the protests were sparked by the murder of an investigate reporter, the demonstrations have forced...
Editorial

Vol. 97 (September 2019)

Editors

On September 20th, two days before Donald Trump would admit discussing the Bidens with Ukrainian President Volodymyr Zelensky, sending the media into a frenzy - possibly for weeks to come -, the Ukrainian Parliament passed a law regulating state support for film production. The...
Editorial

Vol. 98 (October 2019)

Colette de Castro

Film critics have often waxed eloquent concerning Kira Muratova’s cardinal device, the love of the double, represented through the mirror, the twin, and the double shot; through tautologies and reduplicated lines of dialogue. They’ve also talked about the non-linearity of her work, the seemingly...
Editorial

Vol. 99 (November 2019)

Editors

EEFB will conclude its 2019 regional focus on Ukraine shortly after the next meeting of the Normandy Format in Paris on December 9th. Though pundits are still debating the potential of change brought about by the recent political reshuffle in Ukraine and Russia’s growing...
Editorial

Vol. 100 (December 2019)

Editors

This year ends with a special anniversary for our journal: the publication of our 100th issue. When we established the East European Film Bulletin in 2011 as philosophy students in Berlin, the idea of what would become of our project was only vaguely defined. EEFB was not born...
Editorial

Vol. 101 (January 2020)

Editors

At the recent Rotterdam Film Festival, EEFB’s Anastasia Eleftheriou joined a panel on the growing interdependencies between film festivals and film criticism. The scheduling of this event could be taken to attest either the festival team’s sensibility for the issues of our time, or,...
Editorial

Vol. 102 (February 2020)

Editors

In the 10th year of our journal’s existence, we will complete our cycle of regional focuses with Russia, a country whose cinematic culture in many ways poses an impossible challenge for a one-year examination. Recently having passed the 100 issues mark, our archive already...
Editorial

Vol. 103 (March 2020)

Editors

In this month’s issue of EEFB, you will find a review of Garage People, a look at the fascinating world of garages populating the outskirts of Russian towns. Behind rusty and seamless doors, documentary filmmaker Natalija Yefimkina finds creative and often ambitious outlets for...
Editorial

Vol. 104 (April 2020)

Editors

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...
Editorial

Vol. 105 (May 2020)

Anna Doyle and Nathaniel Draper

Video art, following its marginal older sibling, "experimental film", has long attained the status of a respectable form of artistic expression. Though still considered niche, it is being collected, exhibited, studied, critiqued and taught, and has thus boasted a firm place in our (visual)...
Editorial

Vol. 106 (Summer 2020)

Editors

In our April editorial, we thought about the way that film distribution is affected by current restriction measures. The subscription boost for streaming giants like Netflix has put additional pressure on an already decrepit cinema hall infrastructure, while film festivals struggle to stay afloat...
Editorial

Editors

As the situation of migrants remains precarious and immobile as ever, with the boundaries literally being pushed ever further outwards, middleclass fantasies about summer vacations were not the only thing dispelled by current restrictions on travel and mobility. Traveling for work has become difficult,...
Editorial

Vol. 108 (October 2020)

Editors

In recent editorials, we have addressed the breakdown of the cultural landscape. That edifice made up of events, institutions and diverse networks, has crumbled in the face of a challenge that has primarily been defined as a twofold crisis: of the healthcare system and...
Editorial

Vol. 109 (November 2020)

Isabel Jacobs

Soviet Parallel Cinema was an underground film movement emerging in Moscow and Leningrad in the mid-1980s. While Igor and Gleb Aleynikov’s magazine Cine Fantom was gathering artists like Boris Yukhananov in Moscow, Leningrad’s experimental film scene was dominated by Evgeny Yufit’s Necrorealism, an art...
Editorial

Vol. 110 (December 2020)

Colette de Castro

Nearly 100 years ago, as silent film actors were still hamming it up in film studios around the world, avant-garde film theorists were already plotting their demise. Writing collectively in August 1928, S.M. Eisenstein, V.I. Pudovkin and G.V. Alexandrov weighed in on the new...
Editorial

Editors

When we founded the East European Film Bulletin in January 2011, we had one question in mind: where is cinema? At the time, the Romanian New Wave was already in full swing, while countries such as the Czech Republic and Poland had established a...
Editorial

Vol. 112 (February 2021)

Editors

In 2015 and 2016, the working conditions of interns at the Berlinale made it up to the German Bundestag. In these two years, the Berlinale had "employed" 115 and 133 interns respectively, whereas in the six previous years, it was only a little over...
Editorial

Vol. 103 (March 2021)

Sebastian Freiseis

In recent years, Soviet architecture has become a cornerstone of internet culture. Visually driven websites are flooded with images of futuristic hotel complexes along the coastline of the Black Sea. Their washed-out colors make them seem like memories of a future that never came...
Editorial

Vol. 114 (April 2021)

Editors

In the Summer of 1918, Polish composer Karol Szymanowski was residing in a resort on the Black Sea when he suddenly fell ill with the Spanish flu. As a result, he wrote "King Roger", an opera about the struggle for (homo)sexual liberation. The inspiration...
Editorial

Vol. 115 (May 2021)

Editors

The state of being physically or mentally cooped up appears to be a cinematographic constant that the receding COVID-crisis had little to no effect upon. In popular movies, confinement comes in many forms. There are prison films, films about prison escapes, films about abductions,...
Editorial

Vol. 116 (Summer 2021)

Editors

In the mid-2000s, as Romania reached the status of “acceding country” on its path to becoming a full-fledged EU member, Brussels became involved in monitoring Roșia Montană. The small commune in western Transilvania sits on a mountain range rich in mineral resources, making it...
Editorial

Vol. 117 (September 2021)

Editors

Thirtytwo years after the Soviet Union ended its intervention in Afghanistan – a collective trauma that contributed to the downfall of the USSR – the West terminated its own geo-political venture in the country. The outcome of the operation is as senseless as it...
Editorial

Editors

It has been a long-known fact that the number of women who have won major awards at top tier film festivals can be counted on two hands. Prior to the global wake-up call of the last two years, the numbers were: one in Cannes,...
Editorial

Vol. 119 (November 2021)

Editors

While the ghosts of Europe’s past may not haunt the corridors of our deserted offices just yet, from picking up recent newspaper articles, one may get a different impression. Shortly before the COVID-19 crisis, the coal curtain was declared the new iron curtain, with...
Editorial

Vol. 120 (December 2021)

Editors

One year ago, when we celebrated the ten year anniversary of our journal, our editorial contemplated on the need for a new agenda. Observing that Central, Eastern and South-Eastern European cinema has converged institutionally and aesthetically to the standards of the West, we highlighted...
Editorial

Vol. 121 (January 2022)

Editors

This year Berlinale Talents, the talent development program of the Berlin International Film Festival, focuses on the theme “Labours of Cinema”. With this choice the Berlinale wishes to raise awareness that a film is “the product of many, and the labor and working terrain...
Editorial

Vol. 122 (February 2022)

Editors

In the early 20th century, the tendency to celebrate the First World War war as a personal, moral, and even aesthetic experience superior and deeper than the “reality” of fin-de-siècle ennui and decadence (the latter-day democracy fatigue), was not uncommon among writers and artists,...
Editorial

Vol. 123 (Mach 2022)

Editors

The selective ban on Russian films at various film festivals has radically altered the question of national identity. What makes a film Russian, Serbian or Romanian? In Europe, including Russia, films are largely produced through public funding. Does this mean that films receiving public...
Editorial

Vol. 124 (April 2022)

Editors

The question of how the cultural sector should position itself in the widening Russian-Ukrainian war has been a topic of intense debates. From the ban of Russian journalists at the Cannes film festival to the exclusion of Ukrainian documentary filmmaker Sergei Loznitsa from the...
Editorial

Vol. 125 (May 2022)

Editors

In Jasmila Žbanić’s Grbavica: The Land of My Dreams, Esma, a single mother who fell victim to wartime sexual violence, is confronted with two different ways of dealing with the past, each represented through a debt-relationship. The confrontation is provoked by Esma’s daughter Sara,...
Editorial

Vol. 126 (Summer 2022)

Editors

Amidst the seasonal looking away from anything that could disturb the lull of the summer break, a recent crisis in Kosovo demonstrated the risk of escalation: that the longer the war in Ukraine lasts, the more likely it will spread to other states. After...
Editorial

Vol. 127 (September 2022)

Editors

Romanian cinema is at the forefront of addressing the challenges that the country faces today, often linking troublesome memories to urban spaces. Recent films such as Radu Jude’s I Do Not Care If We Go Down In History as Barbarians and Cristi Puiu’s Sieranevada...
Editorial

Vol. 128 (October 2022)

Editors

With a law (article 200) inherited from the Ceaușescu regime, which criminalized same-sex relationships, and which was repealed as late as 2001 as a way for the country to enter the European Union, Romania remains a largely traditional society regarding LGBTQ+ rights. However, customs...
Editorial

Vol. 129 (November 2022)

Editors

If one were to make an end-of-the year ranking of the most outrageous conspiracy theories of 2022, it would be as hard to sieve through the sheer amount of plotting, counterplotting, disinformation, and misinformation as it would be to settle on a top candidate....
Editorial

Vol. 130 (December 2022)

Editors

It has often been noted that the peculiarity of Central and Eastern European comedies resides in their covert political nature. The audience is “in the know” and much of the pleasure of laughing comes from being able to translate public lies into private truths....
Editorial

Vol. 131 (January 2023)

Editors

One of the driving motivations for founding this journal over a decade ago was the observation that cinema is everywhere. Film productions had become so expansive that it was no longer possible to create a film journal without begging questions: what kind of films,...
Editorial

Vol. 132 (February 2023)

Editors

As the Berlinale kicked off on February 16, we are excited to provide our readers with reviews and interviews on the event's selection of Central, Eastern, and South-Eastern European films. During the last two years, we have also used the event as an occasion...
Editorial

Vol. 134 (April 2023)

Editors

Over the past years, the biopic frenzy has expanded into ever-wider realms of subgenres. Presidents and politicians, artists and architects, military heroes and bureaucrats, sports and movie stars, scientists and intellectuals, civil rights activists and whistleblowers are populating our screens year in and year...
Editorial

Vol. 135 (May 2023)

Editors

In 2019, German Chancellor Angela Merkel met with the President of Greece, Prokopis Pavlopoulos. Their conversation covered war reparations, the refugee crisis, and the integration of Balkan counties into the EU. One year earlier, Greece and the then-Republic of Macedonia had signed an agreement...
Editorial

Vol. 136 (Summer 2023)

Anna Doyle

While studies on Balkan cinema have often looked into the Black Wave, the role of Roma culture in Yugoslavia, and the trauma of the Yugoslav wars of the 1990, the question of experimental cinema in the Balkans is a salient yet unsung part of...
Editorial

Vol. 137 (September 2023)

Antonis Lagarias

Introduced by David Clark in 1997 in his eponymous book, the term “cinematic city” refers to a range of writings and discussions united by a common interest in exploring the relations between urban and cinematic spaces. Films shot within the built environment may record...
Editorial

Vol. 138 (October 2023)

Editors

Germany’s reaction to the armed conflict between Hamas-led Palestinian militant groups and Israel that broke out on 7 October 2023, has resulted in a series of prohibitions, ranging from legal bans to symbolic Denkverbote. On October 13th, in Berlin, authorities revoked the right to...
Editorial

Vol. 139 (November 2023)

Editors

In Joseph Heller’s Catch-22, the most maddening thing about war is the impossibility of trying to maintain sanity in an insane situation, like war. Through the bomber pilot Orr, the novel introduces us to the concept of Catch-22, a now familiar bon mot the...
Editorial

Vol. 140 (December 2023)

Editors

This year has been a tumultuous one on a global but also on a local level. In Gaza, relentless airstrikes and ground battles have inflicted thousands of civilian deaths and widespread destruction. In Ukraine, cities are besieged, and civilians are caught in the crossfire...
Editorial

Vol. 141 (January 2024)

Editors

The job of editing film essays and even reviews can be unrewarding. An editor may spend hours guessing the intentions behind a text, polishing vocabulary and twisting sentences so that they still sound like those of the author. A good editor is like a...
Editorial

Vol. 142 (February 2024)

Editors

Under Communist regimes, culture often turned inward due to the pervasive nature of the state and the ideological constraints imposed on cultural expression. The state's omnipresence meant that few topics were addressed without reference to the system itself. This inward turn also stemmed from...
Editorial

Vol. 143 (March 2024)

Editors

Since 7 October, the question of whether to support Israel has polarized societies. Even in Germany, unwavering support for Israel has declined over time. Artists and intellectuals have voiced their concerns over the German state’s hypocritical stance on the matter. Much ink is spilled...
Radu Muntean’s Tuesday after Christmas (Marti, dupa craciun, 2010)

Vol. 1 (January 2011)

Konstanty Kuzma

Radu Muntean's aestheticized film reflects on change at Christmas time.
Marcin Wrona's My Flesh, My Blood (Moja krew, 2009)

Vol. 1 (January 2011)

Moritz Pfeifer

Marcin Wrona's film revolves around the relationship between a dying boxer and a young Vietnamese immigrant.
Jasmila Žbanić's On the Path (Na Putu, 2010)

Vol. 1 (January 2011)

Moritz Pfeifer

Jasmila Žbanić's second feature film depicts the break-up of a young couple.
Giorgi Shengelaia's Pirosmani (1969)

Vol. 1 (January 2011)

Konstanty Kuzma

Giorgi Shengelaia retells the tragic biography of Georgian painter Nikoloz Pirosmani.
Dan Piţa's Sand Cliffs (Faleze de Nisip, 1983)

Vol. 1 (January 2011)

Moritz Pfeifer

Dan Piţa's 1983 movie tells the disconcerting story of a false accusation of theft.
Radu Muntean's The Paper Will Be Blue (Hirtia va fi albastra, 2006)

Vol. 1 (January 2011)

Moritz Pfeifer

Radu Muntean's film follows a military unit in Bucharest on the night of the Romanian Revolution of 1989.
Nikolaj Nikitin on the State of Russian Cinema

Vol. 1 (January 2011)

Konstanty Kuzma

Interview with Nikolaj Nikitin, the Berlinale's delegate for Eastern Europe, about Russian cinema, the Russian film industry and the term "Eastern European cinema".
Marcin Wrona on My Flesh, My Blood

Vol. 1 (January 2011)

Colette de Castro

Polish director Marcin Wrona discusses his new film.
Adrian Sitaru's The Cage (Colivia, 2010) & Paul Negoescu's Derby (2010)

Vol. 2 (February 2011)

Konstanty Kuzma

In their short films, Adrian Sitaru and Paul Negoescu depict a world of fading authorities.
Waldemar Krzystek's Little Moscow (Mała Moskwa, 2008)

Vol. 2 (February 2011)

Konstanty Kuzma

Waldemar Krzystek’s Little Moscow recounts the romance between the wife of a Russian officer and a Polish soldier.
Berlinale 2011

Vol. 2 (February 2011)

Editors

Live coverage from the 61st Berlin International Film Festival (February 10-20).
Lech Majewski's The Mill and the Cross (2010)

Vol. 2 (February 2011)

Moritz Pfeifer

Lech Majewski's The Mill and the Cross is a cinematic version of the famous Brueghel painting.
Paweł Sala's Mother Teresa of Cats (Matka Teresa od kotów, 2010)

Vol. 2 (February 2011)

Colette de Castro

Paweł Sala reconstructs a matricide that happened in Poland during the nineties.
Anca Lăzărescu's Silent River (Apele Tac, 2010)

Vol. 2 (February 2011)

Colette de Castro

Two young men want to escape Communist Romania in this short by Anca Lăzărescu.
Jan Komasa's Suicide Room (Sala Samobojcow, 2011)

Vol. 2 (February 2011)

Konstanty Kuzma

Jan Komasa enters into the lives of suicidal people who meet online to share their feelings with fellow-minded souls.
Béla Tarr's The Turin Horse (A Torinói Loi, 2010)

Vol. 2 (February 2011)

Konstanty Kuzma

Béla Tarr's epic The Turin Horse is based on a true incident, though importantly it reconstructs what could have happened to its less important participants.
Béla Tarr on The Turin Horse

Vol. 2 (February 2011)

Konstanty Kuzma

We spoke to Béla Tarr about his most recent film before its premiere at the Berlinale, where he was awarded the Jury Grand Prix.
František Vláčil's The Valley of the Bees (Údolí včel, 1968)

Vol. 2 (February 2011)

Moritz Pfeifer

František Vláčil's classic is a parable about political oppression.
Cristi Iftime and Anca Buja on 15th of July

Vol. 2 (February 2011)

Colette de Castro

Cristi Iftime and co-writer Anca Buja speak about their short film 15th of July.
Anca Lăzărescu on Silent River

Vol. 2 (February 2011)

Colette de Castro

We met Anca Lăzărescu in Berlin to speak to her about the emergence of the project, her main characters, and possible political references in the film.
Paweł Sala on Mother Teresa of Cats

Vol. 2 (February 2011)

Colette de Castro

We spoke to Paweł Sala about the style of his film, the psychology of the characters, and his upcoming projects.
Alexandru Solomon's Kapitalism: Our Improved Formula (Kapitalism- rețeta noastră secretă, 2010)

Vol. 3 (March 2011)

Konstanty Kuzma

Alexandru Solomon looks at the way seven businessmen have dealt with Romania's transition from Communism to democracy.
František Vláčil's Marketa Lazarová (1967)

Vol. 3 (March 2011)

Moritz Pfeifer

In his essay, Moritz Pfeifer reflects on the beauty of violence.
Erika Hníková's Matchmaking Mayor (Nesvatbov, 2010)

Vol. 3 (March 2011)

Colette de Castro

In Matchmaking Mayor, a mayor tries to increase the population of his village.
Milcho Manchevski's Mothers (Majki, 2010)

Vol. 3 (March 2011)

Claire Bonnefoy

Director Milcho Manchevski discusses the meaning of truth in three episodes that share a common motive.
Tudor Giurgiu's Lovesick (Legături Bolnăvicioase, 2006)

Vol. 3 (March 2011)

Moritz Pfeifer

Love Sick tells the story of a taboo breaking relationship.
Corneliu Porumboiu's Police, Adjective (Politist, adjectiv, 2009)

Vol. 3 (March 2011)

Moritz Pfeifer

A police officer has to confront the menacing methods of his superiors.
Michael Francis Gibson on The Mill and the Cross

Vol. 3 (March 2011)

Editors

We met Michael Gibson, the screenwriter of Lech Majewski's film, in Paris.
Andrei Ujică's Autobiography of Ceauşescu (Autobiografia lui Nicolae Ceauşescu, 2010)

Vol. 4 (April 2011)

Moritz Pfeifer

Autobiography of Ceauşescu is the last part of Andrei Ujică's trilogy on the fall of Communist Europe.
goEast 2011

Vol. 4 (April 2011)

Editors

Live coverage from the 11th goEast Film Festival in Wiesbaden (April 6-12).
Jerzy Skolimowski's Essential Killing (2010)

Vol. 4 (April 2011)

Moritz Pfeifer

Vincent Gallo plays a political prisoner who escapes into the wild forests when being transported through Eastern Europe.
Alexandru Maftei's Hello, How Are You? (Buna! Ce faci?, 2010)

Vol. 4 (April 2011)

Moritz Pfeifer

This film tells the story of a husband and wife who each have a secret affair on the internet.
Arielle Javitch's Look, Stranger (2010)

Vol. 4 (April 2011)

Moritz Pfeifer

Look, Stranger is the story of a refugee who tries to find her way back home in an indistinct country at war.
Marian Crişan's Morgen (2010)

Vol. 4 (April 2011)

Konstanty Kuzma

Marian Crişan uses immigration as a backdrop for a character-driven drama.
Marian Crişan on Morgen

Vol. 4 (April 2011)

Konstanty Kuzma

Crişan speaks about what makes his film Romanian.
Alexandru Maftei on Hello, How Are You?

Vol. 4 (April 2011)

Moritz Pfeifer

We spoke to Romanian director Alexandru Maftei about his box-office hit Hello, How Are You?.
Anamaria Marinca on Look, Stranger

Vol. 4 (April 2011)

Moritz Pfeifer

In Look, Stranger, Anamaria Marinca plays the role of a refugee of war.
Andrei Ujică on The Autobiography of Nicolae Ceauşescu

Vol. 4 (April 2011)

Moritz Pfeifer

We spoke with Andrei Ujică about his last documentary film on Ceauşescu.
Alexandru Solomon on Kapitalism: Our Improved Formula

Vol. 4 (April 2011)

Konstanty Kuzma

We spoke to Solomon about the idea behind his film, the way Romanians deal with politics, and documentary filmmaking.
Krzysztof Kieślowski's The Scar (Blizna, 1976)

Vol. 4 (April 2011)

Konstanty Kuzma

The Scar is the tale of a man driven between his conscience and his party duties.
Mircea Veroiu's Stone Wedding (Fefeleaga, 1972)

Vol. 4 (April 2011)

Colette de Castro

The Stone Wedding is a poetical short film about the relationship between a mother and her dying daughter.
Konstantin Bojanov's Avé (2011)

Vol. 5 (May 2011)

Moritz Pfeifer

A hitchhiker is pulled into an alternative reality built of lies.
Konstantin Bojanov on Avé

Vol. 5 (May 2011)

Moritz Pfeifer

Director Konstantin Bojanov speaks about his main characters, the representation of reality in his story, and the role that locations played in his film.
Andrey Zvyagintsev's Elena (2011)

Vol. 5 (May 2011)

Moritz Pfeifer

Elena is the story of a docile house-wife with a fatal decision to make.
Andrey Zvyagintsev on Elena

Vol. 5 (May 2011)

Moritz Pfeifer

Zvyagintsev speaks about the character psychology of his movie
Alexander Sokurov's Father and Son (Otets i syn, 2003)

Vol. 5 (May 2011)

Moritz Pfeifer

Sokurov’s film illustrates an intimate relationship between a father and his son.
Alexei Fedorchenko's First on the Moon (Pervye na Lune, 2005)

Vol. 5 (May 2011)

Konstanty Kuzma

First on the Moon is a mockumentary by Alexei Fedorchenko tthat changes the history of spaceflight in favor of the Soviet Union.
Bakur Bakuradze's The Hunter (Okhotnik, 2011)

Vol. 5 (May 2011)

Moritz Pfeifer

A man has to deal with everyday reality on his farm. When two workers from a local prison colony appear on his property, things begin to change…
Roman Polanski's Knife in the Water (Nóż w wodzie, 1962)

Vol. 5 (May 2011)

Moritz Pfeifer

Moritz Pfeifer reflects upon the different meanings attributed to the knife in Polanski’s piece.
Roman Polanski's Knife in the Water (Nóż w wodzie, 1962)

Vol. 5 (May 2011)

Konstanty Kuzma

Konstanty Kuzma examines the nature of potency in Polanski’s film.
Catalin Mitulescu's Loverboy (2011)

Vol. 5 (May 2011)

Moritz Pfeifer

Catalin Mitulescu tells a disturbing love story set in the world of sex trafficking.
Catalin Mitulescu on Loverboy

Vol. 5 (May 2011)

Moritz Pfeifer

We met Catalin Mitulescu to talk to him about Romanian reality, the inspiration for his film, and the reasons why he likes working with teenagers.
Peter Bacsó's The Witness (A Tanu, 1969)

Vol. 5 (May 2011)

Colette de Castro

This film was banned in Hungary from 1969 to 1981. Set in the 1950s, it portrays a corrupt and deceitful system of government.
Bakur Bakuradze on The Hunter

Vol. 5 (May 2011)

Moritz Pfeifer

Bakuradze speaks about the characters in his film, and about how they fit into the universe that he is depicting.
Cannes 2011

Vol. 5 (May 2011)

Editors

Live coverage from the 64th Cannes Film Festival (May 11-22).
Cristi Puiu's The Death of Mr. Lăzărescu (2005) and Cristian Mungiu's 4 Months, 3 Weeks and 2 Days (2007)

Vol. 6 (June 2011)

Moritz Pfeifer

Moritz Pfeifer examines the way in which death is excluded from society in both The Death of Mr. Lăzărescu and 4 Months, 3 Weeks and 2 Days.
Aleksei Balabanov's Cargo 200 (Gruz 200, 2007)

Vol. 6 (June 2011)

Konstanty Kuzma

In Aleksei Balabanov's Cargo 200, a young woman is kidnapped and raped by a mentally disordered police man.
Boris Despodov's Corridor No. 8 (2008)

Vol. 6 (June 2011)

Konstanty Kuzma

This documentary follows a infrastructural project launched and subsequently dropped by the European Union in 2007.
Mikhail Kalatozov's The Cranes Are Flying (Letyat zhuravli, 1957)

Vol. 6 (June 2011)

Stefania Marghitu

Mikhail Kalatozov's The Cranes Are Flying follows the fate of a couple separated by the outbreak of the Second World War.
Alexander Mindadze's Innocent Saturday (V Subbotu , 2011)

Vol. 6 (June 2011)

Konstanty Kuzma

Alexander Mindadze’s feature is set in the night of the catastrophe in Chernobyl ’86.
Sergei Loznitsa's My Joy (Schastye moe, 2010)

Vol. 6 (June 2011)

Moritz Pfeifer

Sergei Loznitsa’s My Joy is the story of a truck driver whose journey ends up in an abandoned village.
Lucian Pintilie's The Oak (Balanţa, 1992)

Vol. 6 (June 2011)

Moritz Pfeifer

In Lucian Pintilie's The Oak, a couple goes on a subversive joruney. Is this revolutionary attitude convincing?
Constantin Popescu's Principles of Life (Principii de viaţă , 2010)

Vol. 6 (June 2011)

Konstanty Kuzma

Constantin Popescu focuses on an anti-hero who tries to deal with his environment.
Constantin Popescu on Principles of Life

Vol. 6 (June 2011)

Konstanty Kuzma

Popescu discusses the protagonist of Principles of Life and the premise of the film.
Corneliu Porumboiu on Police, Adjective

Vol. 6 (June 2011)

Moritz Pfeifer

Romanian director Corneliu Porumboiu speaks about humor, language, and his films.
TIFF 2011

Vol. 6 (June 2011)

Editors

Live coverage from the 10th Transilvania International Film Festival (June 3-12).
Cristi Puiu's Aurora (2010)

Vol. 7 (July 2011)

Moritz Pfeifer

Cristi Puiu's Aurora illustrates 36 hours in the life of a killer.
Cristi Puiu's The Death of Mr Lazarescu (Moartea domnului Lăzărescu, 2005)

Vol. 7 (July 2011)

Ana Ribeiro

Ana Ribeiro looks at The Death of Mr. Lazarescu in the light of a trip to Bucharest she made some years ago.
Cristi Puiu's Cigarettes and Coffee (Un cartus de kent si un pachet de cafea, 2004)

Vol. 7 (July 2011)

Moritz Pfeifer

Cristi Puiu's Cigarettes and Coffee is a short about a father asking his son for a job.
Cristi Puiu's Stuff and Dough (Marfa şi banii, 2001)

Vol. 7 (July 2011)

Konstanty Kuzma

In Cristi Puiu's debut, two young men get involved in a pursuit when trying to make quick money with a dubious job.
Radu Jude's The Happiest Girl in the World (Cea mai fericită fată din lume, 2009)

Vol. 7 (July 2011)

Ana Ribeiro

Radu Jude's first feature is a coming of age story about a girl whose life changes when she wins the main prize in an advertising campaign.
Jacek Borcuch's All That I Love (Wszystko, co kocham, 2009)

Vol. 7 (July 2011)

Colette de Castro

Jacek Borcuch's feature follows Janek, the member of a punk band, who tries to resist the obstacles of Socialist Poland in the '80s.
Cristi Puiu on Romania, its cinema, and his own work

Vol. 7 (July 2011)

Editors

Puiu speaks about The Death of Mr. Lăzărescu; Aurora; art, cinema and acting; Romania and Romanian cinema; and the connection between metaphysics and science .
Nae Caranfil's The Rest is Silence (Restul e tacere, 2007)

Vol. 8 (August 2011)

Konstanty Kuzma

Nae Caranfil's The Rest is Silence reconstructs the making-of of Romania's first feature film.
Alexander Sokurov's Russian Ark (Russkiy kovcheg, 2002)

Vol. 8 (August 2011)

Stefania Marghitu

Stefania Marghitu comments on viewing Alexander Sokurov's Russian Ark from 2002 as a "revolutionary" film.
Grigore Brezeanu's and Aristide Demetriade's Romanian Independence (Independenta Romaniei, 1912)

Vol. 8 (August 2011)

Ana Ribeiro

Romania's first feature film from 1912 is a war movie about the Revolution that led to Romania's independence.
Ruxandra Zenide's Ryna (2005)

Vol. 8 (August 2011)

Ana Ribeiro

Ruxandra Zenide's first feature film, set in a remote village, tells the story of a teenager whose life is ruined by the community.
Romanian Cinema of the 90's and of Today

Vol. 8 (August 2011)

Moritz Pfeifer

This essay focuses on humor in the Romanian cinema of the 90's and of today.
Mircea Daneliuc on his Work

Vol. 8 (August 2011)

Editors

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...
Ruxandra Zenide on Ryna

Vol. 8 (August 2011)

Editors

Ruxandra Zenide, one of the few female filmmakers associated with the Romanian New Wave, has directed two films, and is currently working on a third one.
Alexander Sokurov's Faust (2011)

Vol. 9 (September 2011)

Moritz Pfeifer

Moritz Pfeifer gives a first impression of Alexander Sokurov’s latest film.
Alexander Sokurov's Alexandra (2007)

Vol. 9 (September 2011)

Colette de Castro

In Sokurov's 2007 feature, an old widow from St. Petersburg travels to Chechnya to visit her grandson...
Alexander Sokurov's The Sun (Solntse, 2005)

Vol. 9 (September 2011)

Konstanty Kuzma

This 2005 film is part of Alexander Sokurov's series of portrayals on power. The film follows Emperor Shōwa during Japan's surrender in the Second World War.
Notes on Alexandr Sokurov's Moloch (Molokh, 1999) and Brecht's Arturo Ui

Vol. 9 (September 2011)

Moritz Pfeifer

In Moloch, Sokurov creates a highly unconventional portray of Hitler, a new perspective on a dictator everybody seems to know.
Space Perception in Alexander Sokurov's Mother and Son (Mat i syn, 1997)

Vol. 9 (September 2011)

Moritz Pfeifer

Moritz Pfeifer explores the dimensions of perspective in Sokurov's 1997 feature.
Aleksei German Jr.'s From Tokyo (Iz Tokio, 2011)

Vol. 9 (September 2011)

Moritz Pfeifer

In Aleksei German Jr.’s short, the after-math of the Fukushima nuclear disaster is explored on board of an airplane.
Angelina Nikonova's Twilight Portrait (2011)

Vol. 9 (September 2011)

Moritz Pfeifer

In Angelina Nikonova’s feature, an upper-crust woman is crushed by Russian society. Will she take revenge or will she surrender?
Michale Boganim on Land of Oblivion

Vol. 9 (September 2011)

Moritz Pfeifer

Michale Boganim talks about history, time, and the attachment one can have to one’s birthplace.
Aleksei German Jr. on From Tokyo

Vol. 9 (September 2011)

Moritz Pfeifer

We met Aleksei German Jr. for a brief interview about his short.
Michale Boganim's Land of Oblivion (2011)

Vol. 9 (September 2011)

Moritz Pfeifer

In her first feature film, Michale Boganim traces back the intertwined lives of the inhabitants of Prypjat, a Ukrainian town near Chernobyl.
Biennale 2011

Vol. 9 (September 2011)

Editors

Live coverage from the 68th Venice International Film Festival (August 31-September 10).
Adrian Sitaru's Best Intentions (Din dragoste cu cele mai bune intentii, 2011)

Vol. 10 (October 2011)

Moritz Pfeifer

In Adrian Sitaru's second feature film Best Intentions, an overprotective son tries to look after his sick mother.
Adrian Sitaru’s Hooked (Pescuit sportiv, 2009)

Vol. 10 (October 2011)

Konstanty Kuzma

Adrian Sitaru's debut tells the story of a couple that sets out on a picnic trip where they are joined by an odd stranger.
Uldis Brauns’ 235 000 000 (1967)

Vol. 10 (October 2011)

Mihai Fulger

Mihai Fulger discusses this documentary about the Soviet population of the 60s from the Rīga Film Studio.
Andrzej Wajda's Man of Marble (Czlowiek z marmuru, 1976)

Vol. 10 (October 2011)

Stefania Marghitu

Stefania Marghitu takes a look at Andrej Wajda's famous Man of Marble.
Cristian Mungiu's Occident (2002)

Vol. 10 (October 2011)

Moritz Pfeifer

Moritz Pfeifer comments on Cristian Mungiu's debut and aspects of post-Soviet fear of "Westernization."
Lucian Pintilie's The Reenactment (Reconstituirea, 1967)

Vol. 10 (October 2011)

Konstanty Kuzma

In his essay on Pintilie's The Reenactment, Konstanty Kuzma thinks about political and aesthetic fictions.
Adrian Sitaru on Best Intentions

Vol. 10 (October 2011)

Konstanty Kuzma

Sitaru speaks about his protagonist Alex, the idea behind the film, and subjective cinema.
On Mona Vatamanu and Florin Tudor

Vol. 11 (November 2011)

Moritz Pfeifer

Moritz Pfeifer thinks about problems in conceptual art by looking at the work of Mona Vatamanu and Florin Tudor.
Stefan Constantinescu & Visual Art in Romania

Vol. 11 (November 2011)

Konstanty Kuzma

This essay challenges the notion of avant-garde in the context of Romanian cinema by looking at the work of visual artist Stefan Constantinescu.
Aurelia Mihai

Vol. 11 (November 2011)

Ana Ribeiro

Ana Ribeiro looked at the meaning of reality in Aurelia Mihai's work.
Cristi Puiu’s Aurora (2010)

Vol. 11 (November 2011)

Konstanty Kuzma

Konstanty Kuzma examines realism in Cristi Puiu's feature.
Florin Şerban’s If I Want to Whistle, I Whistle (Eu când vreau să fluier, fluier, 2009)

Vol. 11 (November 2011)

Patricia Bass

In Florin Şerban's feature, a young man awaits his release from prison.
Chris Marker's Détour Ceauşescu (1990)

Vol. 11 (November 2011)

Moritz Pfeifer

Détour Ceauşescu was Chris Marker's response to the televized execution of the Ceauşescus. What appears as a critique of the media could also be understood as an approval of them.
Mona Vatamanu and Florin Tudor on their Work

Vol. 11 (November 2011)

Moritz Pfeifer

Mona Vatamanu and Florin Tudor talk about their work.
Xandra Popescu and Stefan Constantinescu on their Work

Vol. 11 (November 2011)

Patricia Bass

Patrica Bass speaks to Xandra Popescu and Stefan Constantinescu about their collaboration, and the meaning of visual art in Romania.
Aurelia Mihai on her Work

Vol. 11 (November 2011)

Moritz Pfeifer

Aurelia Mihai discusses some major aspects of her work.
Cristian Mungiu's 4 Months, 3 Weeks, 2 Days (4 luni, 3 săptămâni şi 2 zile, 2007)

Vol. 12 (December 2011)

Colette de Castro

Colette de Castro asks who is to blame for the atrocities depicted in Cristian Mungiu's film.
Radu Muntean’s Boogie (2008)

Vol. 12 (December 2011)

Konstanty Kuzma

Konstanty Kuzma compares Radu Muntean's Boogie to Arthur Schnitzler's Dream Story.
Cornel Gheorghita’s Europolis (2010)

Vol. 12 (December 2011)

Ana Ribeiro

Corneliu Gheorghita follows two people from a small Romanian village on their journey to fulfill the last wish of a relative.
Mellisa de Raaf and Razvan Radulescu’s First of All, Felicia (Felicia, inainte de toate, 2010)

Vol. 12 (December 2011)

Ana Ribeiro

This story takes place in the course of one day, when a middle-aged woman is about to return home after a holiday spent at her parents' house.
Walerian Borowczyk’s Les jeux des anges (1964)

Vol. 12 (December 2011)

Patricia Bass

Patricia Bass saw Walerian Borowczyk's experimental short from 1964.
Ana Vlad's and Adi Voicu's Metrobranding (2010) and Victoria (2010)

Vol. 12 (December 2011)

Alina Popescu

Alina Popescu discusses the documentaries Metrobranding and Victoria by Ana Vlad and Adi Voicu.
Bogdan George Apetri's Periferic (Outbound, 2010)

Vol. 12 (December 2011)

Ana Ribeiro

A single mother tries to get a grip of her life when she is let out of prison to attend the funeral of her mother.
Tales from the Golden Age: Absurdity at the Dusk of Ceausescu’s Era

Vol. 12 (December 2011)

Ana Ribeiro

Ana Ribeiro analyzes different episodes from the collective piece Tales from the Golden Age.
Kaljo Kiisk’s Vagabond (Nipernaadi, 1983)

Vol. 12 (December 2011)

Moritz Pfeifer

In this Estonian film from 1983, Kaljo Kiisk follows a tramp on his journey through the country.
Ana Vlad and Adi Voicu on Metrobranding

Vol. 12 (December 2011)

Alina Popescu

Ana Vlad and Adi Voicu talk about making their new film, and share their insights on its central themes.
Janez Burger's Silent Sonata (Circus Fantasticus, 2010)

Vol. 13 (January 2012)

Moritz Pfeifer

In a wartorn landscape somewhere in the Balkans, a family is visited by a traveling circus.
Danis Tanović’s Cirkus Columbia (2010)

Vol. 13 (January 2012)

Moritz Pfeifer

Danis Tanović’s comedy, a man returns to Herzegovina from the West with plenty of money and some unfinished business.
Szabolcs Hajdu’s Bibliotheque Pascal (2010)

Vol. 13 (January 2012)

Konstanty Kuzma

Konstanty Kuzma saw Szabolcs Hajdu's tour de force, in which a woman's recollections of her time as a prostitute merge with surrealist fantasies.
Where do Emir Kusturica and Slavoj Žižek meet in Underground (1995)?

Vol. 13 (January 2012)

Moritz Pfeifer

Moritz Pfeifer asks where Slavoj Žižek and Emir Kusturica meet in Underground.
Emil Loteanu’s Queen of the Gypsies (Tabor ukhodit v nebo, 1976)

Vol. 13 (January 2012)

Ana Ribeiro

This Soviet melodrama from 1976 is based on short stories by Maxim Gorki.
Milcho Manchevski’s Before the Rain (1994)

Vol. 13 (January 2012)

Konstanty Kuzma

In this triptych, Milcho Manchevski examines the difficult political atmosphere of post-Socialist (ex-)Yugoslavia.
Gregor Nicholas’s Broken English (1996)

Vol. 13 (January 2012)

Colette de Castro

This 1996 film deals with a group of Croatian immigrants living in New Zealand.
Nikola Ležaić's Tilva Ros (2010)

Vol. 14 (February 2012)

Moritz Pfeifer

Nikola Lezaic's film revolves around a group of young skaters who film each other doing self-destructive pranks.
Peter Strickland’s Katalin Varga (2009)

Vol. 14 (February 2012)

Ana Ribeiro

In Peter Strickland's feature, a woman sets out on a journey to take revenge for a crime that has long been concealed...
Małgorzata Szumowska's Elles (2011)

Vol. 14 (February 2012)

Colette de Castro

Two Polish students earn their living in Paris working as callgirls…
Teona S. Mitevska's The Woman Who Brushed Off Her Tears (Man on Aspahlt, 2012)

Vol. 14 (February 2012)

Colette de Castro

This is a film about two strong women, one living in France and the other in Macedonia…
Teona Strugar Mitevska and Labina Mitevska on The Woman Who Brushed Off Her Tears

Vol. 14 (February 2012)

Colette de Castro

Colette de Castro met with director Tenoa Strugar Mitevska and actress Labina Mitevska to discuss their new film.
Olmo Omerzu's A Night Too Young (Prílis mladá noc, 2012)

Vol. 14 (February 2012)

Colette de Castro

In Olmo Omerzu’s debut feature, two young friends are introduced to the adult’s world.
Philip Scheffner's Revision (2012)

Vol. 14 (February 2012)

Patricia Bass

Patricia Bass saw Philip Scheffner’s documentary that screened at the Berlinale this year.
Przemysław Wojcieszek's Secret (Sekret, 2012)

Vol. 14 (February 2012)

Colette de Castro

Przemysław Wojcieszek’s film is a study of three mismatched Poles. As the title of the film suggests, one of them has a secret…
Przemysław Wojcieszek on Secret

Vol. 14 (February 2012)

Colette de Castro

Colette de Castro met with Przemysław Wojcieszek to talk about his new film.
Olmo Omerzu on A Night Too Young

Vol. 14 (February 2012)

Colette de Castro

Olmo Omerzu’s first feature screened at this year’s Berlinale.
Joanna Kulig and Małgorzata Szumowska on Elles

Vol. 14 (February 2012)

Colette de Castro

Colette de Castro met with Małgorzata Szumowska and Joanna Kulig to speak about their film.
Rainer Rother on the Berlinale ’12 Retrospective

Vol. 14 (February 2012)

Patricia Bass

Rainer Rother, director of the Berlinale RETROSPECTIVE section, speaks about this year’s “The Red Dream Factory” retrospective.
Dušan Makavejev’s Love Affair, or the Case of the Missing Switchboard Operator (Ljubavni slučaj ili tragedija službenice P.T.T., 1967)

Vol. 14 (February 2012)

Konstanty Kuzma

Konstanty Kuzma saw Dušan Makavejev’s provocative 1967 feature.
Alexandru Tatos’ Sequences (Secvente, 1982)

Vol. 14 (February 2012)

Alina Popescu

In this Romanian satire by Alexandru Tatos, the film crew gets entangled in the story.
Wladimir Schnejderow's The Golden Lake (Zolotoje Osero, 1935)

Vol. 14 (February 2012)

Patricia Bass

This feature from 1935 takes place in the remote Altai mountains of the Soviet Union.
Berlinale 2012

Vol. 14 (February 2012)

Editors

Live coverage from the 62nd Berlin International Film Festival (February 9-19).
goEast 2012

Vol. 16 (April 2012)

Editors

Live coverage from the 12th goEast Film Festival in Wiesbaden (April 18-24).
Srđan Dragojević's The Parade (Parada, 2012)

Vol. 15 (March 2012)

Patricia Bass

Srđan Dragojević's latest piece converts the struggles of Serbia's gay activists into a stylized, high-paced 'dramedy'.
Angelina Jolie's In the Land of Blood and Honey (2011)

Vol. 15 (March 2012)

Moritz Pfeifer

Angelina Jolie's debut feature is a love story set during the Yugoslav Wars.
Chantal Akerman’s From the East (D’Est, 1993)

Vol. 15 (March 2012)

Konstanty Kuzma

We saw Chantal Akerman’s 1993 documentary.
Sinisa Dragin's Everyday God Kisses Us on the Mouth (În fiecare zi Dumnezeu ne saruta pe gura, 2001)

Vol. 15 (March 2012)

Alina Popescu

Alina Popescu revisits Sinisa Dragin’s fiction debut.
J. Scheljabuschski's Katok (1927), M. Benderskaja's Prikljutschenija kitajtschat (1928), N. Chodatajew's Budem sorki (1927), L. Amalrik and I. Iwanow-Wano's Blek end uait (1932)

Vol. 15 (March 2012)

Patricia Bass

Patricia Bass discusses four Soviet animated films from the late 1920s and early 1930s that were screened during this year's Berlinale retrospective.
Tudor Giurgiu on Romanian cinema

Vol. 15 (March 2012)

Colette de Castro

Romanian director/producer Tudor Giurgiu speaks about his upcoming feature Of Snails and Men, and discusses his involvement in the film business.
Tomáš Luňák's Alois Nebel (2011)

Vol. 16 (April 2012)

Colette de Castro

In Tomáš Luňák's animated film, a train dispatcher gets involved in an affair dating back to the end of the second World War.
Radu Jude's Everybody in Our Family (Toata lumea din familia noastra, 2012)

Vol. 16 (April 2012)

Alina Popescu

Radu Jude's second feature takes a disturbing look at family life.
Agnieszka Holland's In Darkness (W ciemności, 2011)

Vol. 16 (April 2012)

Konstanty Kuzma

In her new film, Agnieszka Holland recounts the true story of Leopold "Poldek" Socha, a sewage worker who rescued Jewish refugees from the Nazis.
Srđan Keča's A Letter to Dad (Pismo ocu, 2011)

Vol. 16 (April 2012)

Moritz Pfeifer

Serbian director Srđan Keča writes a letter to his deceased father.
Bojan Vuletić's A Practical Guide to Belgrade with Singing and Crying (Prakticni vodic kroz Beograd sa pevanjem i plakanjem, 2011)

Vol. 16 (April 2012)

Moritz Pfeifer

Vuletić's episodic comedy is wrapped as a tourist guide for Belgrade, but seems to be more useful to Serbs than to foreigners.
Sergei Loznitsa's Segodnya My Postroim Dom (1996), Zhizn, Osen (1998), Polustanok (2000)

Vol. 16 (April 2012)

Moritz Pfeifer

Moritz Pfeifer discusses Sergei Loznitsa’s first three films.
Sergei Loznitsa's Portret (2002), Peyzazh (2003)

Vol. 16 (April 2012)

Moritz Pfeifer

Moritz Pfeifer discusses Loznitsa’s Portrait and Landscape, two films that offer different perspectives on rural Russia.
Theodoros Angelopoulos' The Travelling Players (O thiasos, 1975)

Vol. 16 (April 2012)

Anastasia Eleftheriou

Anastasia Eleftheriou looks at Angelopoulos' classic and examines the different historical layers in the film, as well as its ethical implications.
Radu Jude on Everybody in Our Family

Vol. 16 (April 2012)

Colette de Castro

Romanian director Radu Jude speaks about his second feature film.
Sergei Loznitsa's Artel (2006) & Northern Light (Severnyy Svet, 2008)

Vol. 17 (May 2012)

Moritz Pfeifer

Moritz Pfeifer saw two documentary shorts by Sergei Loznitsa.
Sergei Loznitsa's Blockade (Blokada, 2006)

Vol. 17 (May 2012)

Konstanty Kuzma

Konstanty Kuzma saw Sergei Loznitsa’s documentary on the Siege of Leningrad.
The Polaroids of Andrei Tarkovsky, 1979-1983

Vol. 17 (May 2012)

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.
Cristian Mungiu's Beyond the Hills (După dealuri, 2012)

Vol. 17 (May 2012)

Konstanty Kuzma

In Cristian Mungiu’s fourth feature, a troubled woman returns home from abroad to seek help from an old friend…
Sergei Loznitsa's In the Fog (V Tumane, 2012)

Vol. 17 (May 2012)

Konstanty Kuzma

In Sergei Loznitsa’s second feature, an innocent man faces unjust retribution.
Cristian Mungiu on Beyond the Hills

Vol. 17 (May 2012)

Konstanty Kuzma

Interview with Cristian Mungiu about his latest film.
Cristina Flutur and Cosmina Stratan on Beyond the Hills

Vol. 17 (May 2012)

Konstanty Kuzma

The two lead actresses speak about their roles in Cristian Mungiu’s latest film.
Sergei Loznitsa on his Work

Vol. 17 (May 2012)

Moritz Pfeifer

Russian director Sergei Loznitsa speaks about the political dimension of his work, and his upcoming feature In the Fog that will compete for the Palme d’Or in Cannes.
Ilian Metev on Sofia’s Last Ambulance

Vol. 17 (May 2012)

Konstanty Kuzma

Bulgarian director Ilian Metev speaks about his debut feature.
Ilian Metev's Sofia's Last Ambulance (Poslednata Lineika na Sofia, 2012)

Vol. 17 (May 2012)

Konstanty Kuzma

In his documentary, Bulgarian filmmaker Ilian Metev portrays the crew of an overworked ambulance
Aida Begić's Children of Sarajevo (2012)

Vol. 17 (May 2012)

Colette de Castro

Aida Begić’s new film concentrates on two young people, orphans of war.
Paul Negoescu's Horizon (Orizont, 2012)

Vol. 17 (May 2012)

Konstanty Kuzma

Paul Negoescu’s short film follows a lonely fisherman.
Paul Negoescu on Horizon

Vol. 17 (May 2012)

Konstanty Kuzma

Romanian director Paul Negoescu speaks about his short film Horizon, Romanian cinema, and his upcoming feature.
Michal Hogenauer's Tambylles (2012)

Vol. 18 (June 2012)

Colette de Castro

Michal Hogenauer’s short about a teenage delinquent screened in the Cinéfondation selection of this year’s Cannes Film Festival.
Sabina Pop's John, how's the construction site? (Ioane, cum e la constructil?, 1983) & Panc (1990)

Vol. 18 (June 2012)

Colette de Castro

Colette de Castro examines two documentary shorts by Romanian director Sabina Pop.
Dušan Makavejev's Sweet Movie (1974)

Vol. 18 (June 2012)

Konstanty Kuzma

Konstanty Kuzma saw Dušan Makavejev’s provocative feature which revolves around an unhappily married woman.
Ovidiu Bose Pastina's One victim and many culprits (Mai mulţi vinovaţi şi o victimă, 1983)

Vol. 18 (June 2012)

Alina Popescu

Alina Popescu talks about Ovidiu Bose Pastina who began his career in the Communist period at the Documentary Film Studio, Sahia.
Tomáš Luňák on Alois Nebel

Vol. 18 (June 2012)

Jean Roy

Czech director Tomáš Luňák speaks about his debut feature Alois Nebel.
Aida Begić on Children of Sarajevo

Vol. 18 (June 2012)

Colette de Castro

Aida Begic speaks about her latest feature which screened in the Un Certain Regard section of the Cannes film festival last month.
Tudor Giurgiu's Of Snails and Men (2012)

Vol. 18 (June 2012)

Alina Popescu

Tudor Giurgiu’s comedy revolves around a group of factory workers who come up with an unconventional plan to save their jobs.
Benedek Fliegauf's Just the Wind (2012)

Vol. 19 (July 2012)

Ana Ribeiro

Benedek Fliegauf's drama focuses on a Gipsy family living in a small Hungarian village.
Maja Miloš's Clip (Klip, 2012)

Vol. 19 (July 2012)

Ana Ribeiro

Maja Miloš's first feature is a bold film about teenagers..
Slobodan Šijan's Who's Singin' Over There? (Ko to tamo peva, 1980)

Vol. 19 (July 2012)

Konstanty Kuzma

Konstanty Kuzma saw Slobodan Šijan's debut feature from 1980.
Maja Miloš on Clip

Vol. 19 (July 2012)

Ana Ribeiro

EEFB met up with Maja Miloš during the Transilvania International Film Festival to speak to her about her debut feature Clip.
Anca Damian’s Crulic - The Path to Beyond (Crulic - drumul spre dincolo, 2011)

Vol. 20 (August 2012)

Alina Popescu

Crulic is a Polish-Romanian co-production and the first animation directed by Anca Damian.
Hermína Týrlová’s Les contes de la ferme (1972)

Vol. 20 (August 2012)

Moritz Pfeifer

Hermína Týrlová is considered one of the founders of Czech animation films...
Karel Kachyňa's The Ear (Ucho, 1970)

Vol. 20 (August 2012)

Julia Zelman

The Ear is one of the most politically incendiary films to emerge from the Czechoslovak Young Wave.
Goran Paskaljević’s The Dog Who Loved Trains (Pas koji je voleo vozove, 1977)

Vol. 20 (August 2012)

Konstanty Kuzma

Paskaljević’s film starts out on board of a prison train: tired of the relentless heat in the train cabins, a group of lighthearted female prisoners decide to take their clothes off...
Juris Podnieks' Homeland (Krustceļš, 1990)

Vol. 21 (September 2012)

Colette de Castro

A political documentary from Latvian helmer Juris Podnieks about the folk festivals in the Baltic states.
Bogdan Dziworski's Ski Scenes with Franz Klammer (1980), Classical Duel (1978), The Olympics (1978)

Vol. 21 (September 2012)

Colette de Castro

Colette de Castro finds common themes in three of Polish director Bogdan Dziworski's "sports" documentaries.
Emir Kusturica’s Maradona by Kusturica (2008)

Vol. 21 (September 2012)

Konstanty Kuzma

Konstanty Kuzma saw Emir Kusturica's pseudo-documentary.
Silviu Purcarete’s Somewhere in Palilula (Undeva la Palilula, 2008)

Vol. 21 (September 2012)

Alina Popescu

Somewhere in Palilula is Romanian theater figure Silviu Purcarete’s surrealist debut feature.
Vassily Sigarev's Wolfy (Volchok, 2010)

Vol. 21 (September 2012)

Moritz Pfeifer

Moritz Pfeifer analyzes the birch tree as a representation of contemporary Russian directors' search for mysticism.
Kees Bakker on Baltic Cinema

Vol. 21 (September 2012)

Colette de Castro

Kees Bakker, programmer of the Lussas Film Festival, talks about this year’s Baltic films at the états généraux du film documentaire festival.
Federico Rossin on Bogdan Dziworski

Vol. 21 (September 2012)

Colette de Castro

Federico Rossin, programmer of the Lussas Film Festival, speaks about Polish director Bogdan Dziworski’s oeuvre.
Razvan Radulescu on his Work

Vol. 21 (September 2012)

Ana Ribeiro

Romanian screenwriter Razvan Radulescu speaks about his involvement in the films of the Romanian “New Wave” and his career.
Andrei Gruzsniczki’s The Other Irene (Cealalta Irina, 2009)

Vol. 22 (October 2012)

Alina Popescu

This modern-day drama from Romania revolves around Aurel, a night watchman played by Andi Vasluianu.
Přemysl Pražský’s Prague Seamstresses (Pražské švadlenky, 1929)

Vol. 22 (October 2012)

Moritz Pfeifer

Přemysl Pražský’s 1929 intricate comedy revolves around the faith of a young, single woman.
Miguel Ángel Jiménez' Seagull (Chaika, 2012)

Vol. 23 (November 2012)

Anastasia Eleftheriou

Chaika shows the different ways in which people can relate to their homeland…
Goran Marković’s Tito and Me (Tito i ja, 1992)

Vol. 22 (October 2012)

Konstanty Kuzma

In this Yugoslav cult comedy from the early 1990s, a boy claims his love for Tito is greater than that for his parents.
Lussas 2012

Vol. 21 (September 2012)

Editors

Live coverage from the États généraux documentary film festival in Lussas (August 19-25).
The Cinematic Man

Vol. 22 (October 2012)

Mikhail Iampolski

Mikhail Iampolski (New York University) retraces the genealogy of the cinematic man starting with Soviet films of the 1920s, and ending with contemporary Russian cinema.
Serbia as a Symptom of the Balkans: Internationalism & Globalization

Vol. 21 (September 2012)

Miško Šuvaković

Miško Šuvaković (University of Arts, Belgrade) situates his native Serbia within an emergent sphere of artistic production vis-à-vis the world of high art.
Yorgos Zois's Out of Frame (Titloi Telous, 2010)

Vol. 23 (November 2012)

Anastasia Eleftheriou

This short film by Yorgos Zois uses empty billboards as a symbol for reality in today's Greece.
Sergei Loban's Chapiteau-show (Shapito Shou, 2011)

Vol. 23 (November 2012)

Moritz Pfeifer

In Sergei Loban's 3-and-a-half hour piece, 4 seperate stories intersect unexpectedly...
Jaromil Jireš’s And Give My Love to the Swallows (….a pozdravuji vlastovky, 1972)

Vol. 23 (November 2012)

Julia Zelman

Julia Zelman saw this 1972 film about Czech resistants during the Second World War.
Thessaloniki 2012

Vol. 23 (November 2012)

Editors

Live coverage from the Thessaloniki International Film Festival (November 2-11).
Radoslav Pavković, Christina Hadjicharalambous' Loveless Zoritsa (Crna Zorica, 2012)

Vol. 23 (November 2012)

Anastasia Eleftheriou

Zoritsa is the only girl born without a mustache in an all female family who have traditionally been born with mustaches….
Jan Hřebejk's The Holy Quaternity (Svatá Ctverice, 2012)

Vol. 23 (November 2012)

Anastasia Eleftheriou

Jan Hřebejk’s new film examines the endeavors of two couples to spice up their sex lives.
Goran Paskaljević's When Day Breaks (Kad svane dan, 2012)

Vol. 23 (November 2012)

Anastasia Eleftheriou

An old musician sets out to discover his identity after finding out that his Jewish parents were persecuted during World War II.
Radoslav Pavković and Christina Hadjicharalambous on Loveless Zoritsa

Vol. 23 (November 2012)

Anastasia Eleftheriou

The directors talk about their latest film.
Miguel Ángel Jiménez on Seagull

Vol. 23 (November 2012)

Anastasia Eleftheriou

We met Miguel Ángel Jiménez at the festival to talk to him about his new film.
Živojin Pavlović’s See You in the Next War (Nasvidenje v naslednji vojni, 1980)

Vol. 23 (November 2012)

Konstanty Kuzma

In this Yugoslav production from 1980, a young man joins the partisans in their struggle against the Nazis.
Five Short Films by Cristian Mungiu

Vol. 23 (November 2012)

Anastasia Eleftheriou

Anastasia Eleftheriou saw Mungiu’s early short films during this year’s tribute to the Romanian director at the Thessaloniki IFF.
Cinéma du Réel 2013

Vol. 27 (March 2013)

Editors

Live coverage from the 35th Cinéma du Réel documentary film festival (March 21-31).
Emil Christov's The Color of the Chameleon (Zincograph, 2012)

Vol. 24 (December 2012)

Anastasia Eleftheriou

In this spy film from 2012, a Bulgarian secret agent uses the system’s oppressive tactics against itself…
Emil Christov on The Color of the Chameleon

Vol. 24 (December 2012)

Anastasia Eleftheriou

Anastasia Eleftheriou met Christov at the Thessaloniki IFF to speak to him about his latest film.
Kasia Adamik’s The Offsiders (Boisko bezdomnych, 2008)

Vol. 24 (December 2012)

Colette de Castro

Polish helmer Kasia Adamik illustrates the life of homeless people on the territory of Poland’s former National Stadium.
Ognjen Sviličić's Sorry for the Kung Fu (Oprosti za kung fu, 2004)

Vol. 24 (December 2012)

Moritz Pfeifer

This film revolves around Mira, a young woman who returns home pregnant to Croatia after the war.
Ognjen Sviličić on Sorry for the Kung Fu

Vol. 24 (December 2012)

Moritz Pfeifer

Moritz Pfeifer met Sviličić during the Croatie, la voici festival in Paris to talk to him about his films, Croatia’s upcoming EU entry, and parallels between Croatian and Romanian cinema.
Ion Popescu-Gopo’s A Bomb Was Stolen (S-a furat o bombă, 1961)

Vol. 24 (December 2012)

Konstanty Kuzma

Romanian spy film from 1961, two criminal gangs try to get hold of a nuclear bomb.
Some Ideas on the Meaning of Béla Tarr's Animals

Vol. 25 (January 2013)

Moritz Pfeifer

Why would animals make someone stop filming? Moritz Pfeifer talks about Béla Tarrs curious relationship with animals.
André de Toth's Crime Wave (1954)

Vol. 25 (January 2013)

Patricia Bass

Patricia Bass saw this film noir from Hungarian director André De Toth.
Karoly Makk's Love (Szerelem, 1971)

Vol. 25 (January 2013)

Konstanty Kuzma

Konstanty Kuzma compares Karoly Makk's 1971 film with Michael Haneke's Amour and Ulrich Seidl's Paradise: Love.
Béla Tarr's Prologue (2004)

Vol. 25 (January 2013)

Anastasia Eleftheriou

This segment from Hungarian director Béla Tarr was part of the cooperative Visions of Europe project (2004).
Enyedi Ildiko's Simon, the Magician (Simon mágus, 1999)

Vol. 25 (January 2013)

Julia Zelman

In this surrealist film from Hungarian director Ildikó Enyedi, the French police seeks help from a Budapest sorcerer.
Nana Ekvtimishvili's and Simon Groß' In Bloom (Grzeli nateli dgeebi, 2013)

Vol. 26 (February 2013)

Konstanty Kuzma

This problematic film nominally deals with Georgia’s past, and is stylistically heavily inspired by Cristian Mungiu.
Calin Peter Netzer's Child's Pose (Pozitia copilului, 2013)

Vol. 26 (February 2013)

Colette de Castro

Colette de Castro saw the new film by Calin Peter Netzer.
Danis Tanović's An Episode in the Life of an Iron Picker (Epizoda u životu berača željeza, 2013)

Vol. 26 (February 2013)

Colette de Castro

Danis Tanović’s new film tells the true story of Nasif and Senada who live in a small house in a poor Roma village.
Zaza Rusadze's A Fold in My Blanket (Chemi sabnis naketsi, 2013)

Vol. 26 (February 2013)

Konstanty Kuzma

Zaza Rusadze’s debut feature oscillates between truth and phantasy, ultimately unable to stand on firm ground.
Bobo Jelčić's A Stranger (Obrana i zaštita, 2013)

Vol. 26 (February 2013)

Colette de Castro

Colette de Castro analyzes the use of time in Bobo Jelčić's film.
Cristian Mungiu's Beyond the Hills (După dealuri, 2012)

Vol. 26 (February 2013)

Alina Popescu

After our review from Cannes, Alina Popescu takes another look at Mungiu's latest film, focusing on its reception in Romania.
Miklós Jancsó's Wake Up, Mate, Don't You Sleep (Kelj fel, komám, ne aludjál!, 2002)

Vol. 26 (February 2013)

Konstanty Kuzma

Konstanty Kuzma argues that Miklós Jancsó's problematic film from 2002 points to his artistic arrogance.
Călin Peter Netzer on Child's Pose

Vol. 26 (February 2013)

Colette de Castro

Colette de Castro met Calin Peter Netzer to talk with him about his new film.
Zaza Rusadze on A Fold in My Blanket

Vol. 26 (February 2013)

Konstanty Kuzma

We met Zaza Rusadze to speak to him about his film and the prospects of new Georgian cinema.
Sándor Mihályfy's The Train-Stop Comes Alive (Indul a bakterház, 1980)

Vol. 26 (February 2013)

Moritz Pfeifer

Moritz Pfeifer saw this Hungarian TV comedy from 1980.
The Magic Performances of Multimedia Artist Ivan Ladislav Galeta

Vol. 26 (February 2013)

Moritz Pfeifer

Moritz Pfeifer looked at the work of Croatian artist Ladislav Galeta.
The Video Art of Sanja Iveković

Vol. 26 (February 2012)

Patricia Bass

Patricia Bass deliberates the meaning of language for Iveković's work.
The Video and Performance Art of Zoran Todorović

Vol. 26 (February 2013)

Konstanty Kuzma

The work of Serbian video and performance artist Todorović revolves around "micro-" and "bio"-political problems in our society.
Ivan Ladislav Galeta on his Work

Vol. 26 (February 2013)

Editors

We met Croatian media artist Ivan Ladislav Galeta at the Centre Pompidou, where he showcased some of his works.
Zoran Todorović on his Work

Vol. 26 (February 2013)

Konstanty Kuzma

Todorović speaks about his performance and video art.
Berlinale 2013

Vol. 26 (February 2013)

Editors

Live coverage from the 63rd Berlin International Film Festival (February 7-17).
Dan Chisu's Chasing Rainbows (Si caii sunt verzi pe pereti, 2012)

Vol. 27 (March 2013)

Alina Popescu

Chasing Rainbows is an independent production and Dan Chisu's third feature film.
Some Comments on Bells from the Deep: Faith and Superstition in Russia (1993)

Vol. 27 (March 2013)

Pau Bosch Santos

Pau Bosch Santos sheds some light on Werner Herzog's film on Russian mysticism.
Svetlana Baskova's For Marx... (Za Marksa..., 2012)

Vol. 27 (March 2013)

Konstanty Kuzma

Svetlana Baskova's feature illustrates the activities of leftist labor unions in Russia.
Denis Klebleev's 31st Haul (2012)

Vol. 27 (March 2013)

Anastasia Eleftheriou

Denis Klebleev goes to Kamchatka following two truck drivers delivering goods in this forlorn region of Russia.
Alexander Abaturov's Sleeping Souls (Les âmes dormantes, 2013)

Vol. 27 (March 2013)

Anastasia Eleftheriou

Alexander Abaturov follows the 2012 Russian pre-election period in Atchinsk.
Marta Prus' Osiemnastka (2012)

Vol. 27 (March 2013)

Maxence Voiseux

We reviewed this coming-of-age story from Poland.
Victor Aslyuk's Wooden People (Drauliany narod, 2012)

Vol. 27 (March 2013)

Julia Zelman

This Belarusian film offers us a vision sprung from a “dreamed-up country” sculpted in wood and painstakingly arranged.
Miklós Jancsó's Cantata (Oldás és kötés, 1964)

Vol. 27 (March 2013)

Moritz Pfeifer

Moritz Pfeifer asks whether Miklós Jancsó's second feature Cantata achieves its existentialist goals.
Hermann Kosterlitz's Peter (1934)

Vol. 27 (March 2013)

Colette de Castro

Colette de Castro reports from this year's Berlinale retrospective, reviewing an 1934 German-Hungarian comedy.
Svetlana Baskova on For Marx...

Vol. 27 (March 2013)

Konstanty Kuzma

Baskova speaks about researching for her film, its political dimension, and Russian labor unions.
Alexander Abaturov on Sleeping Souls

Vol. 27 (March 2013)

Anastasia Eleftheriou

Alexander Abaturov speaks about his experience of shooting the elections in Siberia.
Denis Klebleev on 31st Haul

Vol. 27 (March 2013)

Anastasia Eleftheriou

Anastasia Eleftheriou met Denis Klebleev during the Cinéma du Réel to talk with him about his new film.
Karel Vachek's Moravian Hellas (Moravská Hellas, 1963)

Vol. 28 (April 2013)

Julia Zelman

Julia Zelman saw Karel Vachek's satirical documentary on a folklore festival in Czechoslovakia.
Věra Chytilová's Daisies (Sedmikrásky, 1966)

Vol. 28 (April 2013)

Patricia Bass

Patricia Bass compares aspects of Věra Chytilová's Daisies to the American TV-Series The Jersey Shore.
Jan Němec's A Report on the Party and the Guests (O slavnosti a hostech, 1966)

Vol. 28 (April 2013)

Moritz Pfeifer

Moritz Pfeifer saw this film by Jan Němec, which was banned in 1966 and only made available after the Velvet Revolution in Czechoslovakia.
Drahomíra Vihanová's Squandered Sunday (Zabitá neděle, 1969)

Vol. 28 (April 2013)

Konstanty Kuzma

In Drahomíra Vihanová's feature debut, a young army officer contemplates suicide.
Marian Crişan's Rocker (2012)

Vol. 28 (April 2013)

Moritz Pfeifer

Marian Crişan’s new film makes another case for Romanian loserism.
Alexei Fedorchenko's Celestial Wives of the Meadow Mari (Nebesnye zheny lugovykh mari, 2012)

Vol. 28 (April 2013)

Moritz Pfeifer

With this piece, director Alexei Fedorchenko references and responds to his earlier film Silent Souls.
Adilkhan Yerzhanov's Constructors (Stroiteli, 2013)

Vol. 28 (April 2013)

Moritz Pfeifer

Constructors is an absurdist parable on government control and social dissent.
Kirill Serebrennikov's Betrayal (Izmena, 2012)

Vol. 28 (April 2013)

Moritz Pfeifer

Kirill Serebrennikov’s new film points to his background in theater.
Drahomíra Vihanová on her Work

Vol. 28 (April 2013)

Julia Zelman

The Czech 1960s director speaks about the way film school worked in the 1960s, the political atmosphere back then, her work, and how her film was banned after the Prague Spring.
goEast 2013

Vol. 28 (April 2013)

Editors

Live coverage from the 13th goEast Film Festival in Wiesbaden (April 10-16).
TIFF 2013

Vol. 31 (July 2013)

Editors

Live coverage from the 12th Transilvania International Film Festival (June 3-12).
The Politics of Recognition: Jews in Czech and Polish Post-Communist Cinema

Vol. 28 (April 2013)

Ewa Mazierska

Ewa Mazierska (University of Central Lancashire) discusses the representations of Jews in Polish and Czech films in postwar cinema.
Jaromír Šofr on his Career

Vol. 28 (April 2013)

Julia Zelman

Czech cinematographer Jaromír Šofr speaks about his formation, his involvement in the New Wave, and working with directors of different styles and ages.
Paul Negoescu's A Month in Thailand (O luna in Thailanda, 2012)

Vol. 29 (May 2013)

Alina Popescu

In Paul Negoescu’s debut feature, a young man’s love life takes a turn on New Year’s Eve.
Alexandru Solomon's Cold Waves (2007)

Vol. 29 (May 2013)

Ana Ribeiro

This investigative documentary by Alexandru Solomon retraces the activity of the Romanian service of Radio Free Europe during Ceaușescu’s reign.
Kornél Mundruczó's Delta (2008)

Vol. 29 (May 2013)

Konstanty Kuzma

In this film by Hungarian helmer Kornél Mundruczó, a young man returns to his hometown to settle down.
Anka and Wilhelm Sasnal's It Looks Pretty from a Distance (Z daleka widok jest piekny, 2011)

Vol. 29 (May 2013)

Colette de Castro

In this film by Anka and Wilhelm Sasnal, idyllic nature belies the decaying reality that underlies it.
Sergei Loznistsa's Letter (Pismo, 2013)

Vol. 29 (May 2013)

Moritz Pfeifer

Moritz Pfeifer saw Sergei Loznitsa’s latest film set in a psychiatric institution on the Russian countryside.
Anka and Wilhelm Sasnal on It Looks Pretty from a Distance

Vol. 29 (May 2013)

Colette de Castro

We talked to the co-directors of It Looks Pretty from a Distance about their non-Polish influences, painting, poetry, and nature's role in film.
Lyubov Arkus's Anton's Right Here (Anton tut ryadom, 2012)

Vol. 30 (June 2013)

Anastasia Eleftheriou

Lyubov Arkus documents her relationship with an autistic teenager.
Benedek Fliegauf's Dealer (2004)

Vol. 30 (June 2013)

Moritz Pfeifer

Moritz Pfeifer saw Benedek Fliegauf’s Dealer.
Réka Kincses's Homeland, Sex and Further Inconveniences (Szülőfold, szex és más kellemetlenségek, 2012)

Vol. 30 (June 2013)

Konstanty Kuzma

A married couple’s seemingly idyllic existence in Germany belies their struggle to find happiness.
Iveta Grófová's Made in Ash (Až do mesta Aš, 2012)

Vol. 30 (June 2013)

Konstanty Kuzma

Iveta Grófová’s debut feature revolves around a young Slovak girl who travels to Czech Republic to find work.
Zoltán Fábri's Professor Hannibal (Hannibál tanár úr, 1956)

Vol. 30 (June 2013)

Konstanty Kuzma

Konstanty Kuzma finds parallels between Zoltán Fábri’s 1956 political critique and the current Hungarian government.
Alexei Fedorchenko on Silent Souls

Vol. 30 (June 2013)

Moritz Pfeifer

Moritz Pfeifer met Alexei Fedorchenko to speak to him about Celestial Wives of the Meadow Mari and Silent Souls, his stylistic choices, and comedy films in Russia.
Jiří Menzel on his Career

Vol. 30 (June 2013)

Konstanty Kuzma

Jiří Menzel speaks about changing perceptions of his films, being part of a cinematic movement, and the risks and merits of freedom.
Réka Kincses on Homeland, Sex and Further Inconveniences

Vol. 30 (June 2013)

Konstanty Kuzma

We met Réka Kincses to speak to her about her film, her methodology and Viktor Orban.
György Pálfi's Final Cut - Ladies & Gentlemen (2012)

Vol. 31 (July 2013)

Konstanty Kuzma

Konstanty Kuzma saw György Pálfi’s latest film, a collage-hommage to the history of cinema.
György Pálfi's Taxidermia (2006)

Vol. 31 (July 2013)

Ana Ribeiro

Ana Ribeiro discusses György Pálfi’s cult movie from 2006.
György Pálfi's Hukkle (2002)

Vol. 31 (July 2013)

Julia Zelman

Julia Zelman ponders about Pálfi’s vision of nature, and finds curious cinematic references to his 2002 debut feature.
Biopics on Intellectuals

Vol. 31 (July 2013)

Moritz Pfeifer

Moritz Pfeifer thinks about biopics about intellectuals, focusing on the recent productions Hannah Arendt and The Last Station, which screens at the 2020 Berlinale.
György Pálfi on his Work

Vol. 31 (July 2013)

Konstanty Kuzma

Konstanty Kuzma met Pálfi to speak to him about his directorial style, the problems of political filmmaking, and where he sees Hungary today.
Ágnes Kocsis' Fresh Air (Friss levegö, 2006)

Vol. 32 (August 2013)

Colette de Castro

Ágnes Kocsis’ drama-comedy revolves around a relationship between mother and daughter.
Gábor Zsigmond Papp's Life of an Agent (Az ügynök élete, 2006)

Vol. 32 (August 2013)

Colette de Castro

Colette de Castro reviews this recent film compiled from police training videos from Hungary’s Communist era.
Radim Špaček's Rapid Eye Movement (Rychlé pohyby očí, 1998)

Vol. 32 (August 2013)

Julia Zelman

Julia Zelman saw Radim Špaček's 1998 debut.
Benedek Fliegauf's Womb (2010)

Vol. 32 (August 2013)

Konstanty Kuzma

Konstanty Kuzma saw Benedek Fliegauf’s English-language debut.
The Lives of Secret Others

Vol. 32 (August 2013)

Beth Holmgren

Beth Holmgren (Duke University) takes a close look at how recent Eastern European cinema is exhuming the cold-war era secret police.
Benedek Fliegauf on Just the Wind

Vol. 32 (August 2013)

Moritz Pfeifer

Moritz Pfeifer met Benedek Fliegauf to speak to him about his latest film, its reception, and making films in Hungary.
Ildikó Enyedi's My Twentieth Century (Az én XX. századom, 1989)

Vol. 33 (September 2013)

Konstanty Kuzma

In this Hungarian film by Ildikó Enyedi, Dorothy Segda takes on the roles of two sisters whose dissimilar lifestyles illustrate modernity's polarity.
János Szász's Opium: Diary of a Madwoman (Ópium: Egy elmebeteg nö naplója, 2007)

Vol. 33 (September 2013)

Patricia Bass

Patricia Bass addresses director János Szász's unimaginative obsession with shock and wickedness.