Abel Ferrara’s Siberia (2020)

Vol. 102 (February 2020) by Konstanty Kuzma
Abel Ferrara takes Willem Dafoe to the woods for his image-laden spectacle.

Andrey Gryazev’s Kotlovan (2020)

Vol. 102 (February 2020) by Konstanty Kuzma
Russian filmmaker Andrey Gryazev assembles a film from YouTube videos addressing president Vladimir Putin.

Boris Akopov’s The Bull (Byk, 2019)

Vol. 101 (January 2020) by Konstanty Kuzma
The 1990s are back in this ideologically reserved crime film from Russia.

Levan Akin’s And Then We Danced (2019)

Vol. 101 (January 2020) by Konstanty Kuzma
Levan Akin's story of forbidden love advocates a form of progressive patriotism.

Peter Kerekes’ BATAstories (Baťa, první globalista, 2018)

Vol. 101 (January 2020) by Konstanty Kuzma
Peter Kerekes' film touches on all the problems of global capitalism without addressing any of them.

Marko Škop’s Let There Be Light (Nech je svetlo, 2019)

Vol. 101 (January 2020) by Konstanty Kuzma
Masculinity hits back in rural Slovakia in Marko Škop’s highly unfunny feature.

Nebojša Slijepčević’s Srbenka (2018)

Vol. 95 (May 2019) by Konstanty Kuzma
This documentary follows the staging of a Croatian theater play that reflects on the sad legacy of ethnic strife.

Alexander Gorchilin’s Acid (Kislota, 2018)

Vol. 93 (March 2019) by Konstanty Kuzma
Hamlet makes several cameos in Alexander Gorchilin's frustrating if highly aestheticized debut about Gen Yer aimlessness.

Vitaly Mansky’s Close Relations (Rodnye, 2016)

Vol. 91 (January 2019) by Konstanty Kuzma
Can Vitaly Mansky's documentary about his family and Ukraine at war live up to its reputation of bridging Eastern-Western divides?

Ivan Salatić’s You Have the Night (Ti imaš noć, 2018)

Vol. 90 (December 2018) by Konstanty Kuzma
Ivan Salatić’s debut feature is clumsily poised between personal drama and city study.
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