Kristina Grozeva and Petar Valchanov’s Glory (Slava, 2016)

Vol. 75 (May 2017) by Moritz Pfeifer
Kristina Grozeva and Petar Valchanov's second feature is a technically flawless bleak comedy about an ordinary man's descent to hell.

Rati Oneli’s City of the Sun (Mzis qalaqi, 2017)

Vol. 72 (February 2017) by Moritz Pfeifer
Georgian documentarian Rati Oneli takes a spiritual look at the social and urban decay of a mining town.

Mikhail Barynin’s 24 Snow (24 snega, 2016)

Vol. 72 (February 2017) by Moritz Pfeifer
Mikhail Barynin travels to Russia’s Far East to depict what he perceives as the demise of the pastoral tradition.

Helena Třeštíková’s Mallory (2014)

Vol. 71 (January 2017) by Moritz Pfeifer
Is Helena Třeštíková aware of her work's moral implications?

Yervant Gianikian and Angela Ricci Lucchi on their Armenian Films

Vol. 69 (November 2016) by Moritz Pfeifer
The artist duo speak about their preoccupation with and interest in the Armenian genocide.

Historical Evidence in the Armenian Films of Yervant Gianikian and Angela Ricci Lucchi

Vol. 69 (November 2016) by Moritz Pfeifer
Moritz Pfeifer places Yervant Gianikian and Angela Ricci Lucchi's Armenian films in the context of the aesthetics that have dominated European memory culture.

Vitaly Mansky’s Under the Sun (V luchakh solnca, 2015)

Vol. 67 (September 2016) by Moritz Pfeifer
Vytaly Mansky's poignant documentary challenges the widely held belief that the indoctrination of people living under a terror regime like North Korea is complete.

Laila Pakalniņa on her Films

Vol. 66 (Summer 2016) by Moritz Pfeifer
We met Laila Pakalniņa during the goEast film festival, where her new film Dawn screened in the competition in 2016.

Bobo Jelčić’s A Stranger (2013) & Ognjen Glavonić’s Depth Two (2016)

Vol. 64 (April 2016) by Moritz Pfeifer
Moritz Pfeifer saw two films that deal with “Othering” through aspects of grief.

Petr Václav’s We Are Never Alone (Nikdy nejsme sami, 2016)

Vol. 63 (March 2016) by Moritz Pfeifer
In his recognizable follow-up to We Are Never Alone, Peter Václav falls victim to his own narrative pitfalls.
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