Anna Batori

Nimród Antal’s The Whiskey Robber (A Viszkis 2017)

This film about a post-Socialist folk hero is overwhelmed by the miscellaneous facets of its subject matter.

This Hungarian feature tries to make debates about the refugee crisis emotionally accessible.

What is the intent and potential rationale behind Srdjan Spasojević's willingly degrading film?

In keeping with its author's handwriting, György Pálfi's film is a gory visit to adventureland.

Kamen Kalev takes on the unrealistic aim of cramming Bulgaria's post-Communist transition into his debut.

Szabolcs Hajdu is back with a feature starring his family as cast and their apartment as setting.

Anna Batori saw Levan Koguashvili’s Street Days, which revolves around a heroin addict's plight, and his quest for dignity.

Anna Batori reviews this well-known Georgian film in the context of its meta-commentary on the Georgian film industry.