Actress Elīna Vaska speaks about Renars Vimba’s Mellow Mud, a Latvian coming-of-age drama in which she played the lead role.
Julia Zelman reviews this film about a Communist-era teacher who uses her position to exact favors from her students' families.
Elżbieta Benkowska’s, Łukasz Ostalski’s and Michał Wawrzecki’s New World (Nowy Świat, 2015)
Julia Zelman unveils how the collaborative feature New World challenges discrimination against migrants.
Julia Zelman searches for meaning in Otar Iosseliani’s elusive directorial debut.
The Rejection of the Family in Cristian Mungiu’s 4 Months, 3 Weeks and 2 Days (2007) and Călin Peter Netzer’s Child’s Pose (2013)
Julia Zelman compares the absence of food culture in two arthouse triumphs of the Romanian New Wave.
The moral decay pictured in Yuri Bykov's new film reminds Julia Zelman of Bulgakov's The Master and Margarita.
Darko Lungulov’s Monument to Michael Jackson (Spomenik Majklu Dzeksonu, 2014)
Julia Zelman ponders Darko Lungulov’s ambivalent relationship with Hollywood dogma.
Kote Mikaberidze's 1929 powerful Soviet satire is revisited by Julia Zelman.
Harutyun Khachatryan’s Endless Escape, Eternal Return (Anverj Pakhust, Haverzh Veradardz, 2013)
Harutyun Khachatryan's latest feature reflects on questions of national identity in the life of Armenian exiles.
Two enemies must learn how to get along in this Estonian-Georgian film by Zaza Urushadze.
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