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.

Alexei Fedorchenko’s Angels of Revolution (Angely Revoluciji, 2014)

Vol. 63 (March 2016) by Moritz Pfeifer
Experimental as ever, Alexei Fedorchenko makes revolutionaries clash with indigenous people.

Mantas Kvedaravicius’ Mariupolis (2016)

Vol. 62 (February 2016) by Moritz Pfeifer
This portrait of Eastern Ukrainian city Mariupolis counters grand narratives of political division by focusing on the life and logic of local communities.

Giedre Zickyte’s Master and Tatyana (Meistras Ir Tatjana, 2015)

Vol. 61 (January 2016) by Moritz Pfeifer
This info-doc about the life and work of Lithuanian photographer king Vitas Luckus misses out on the contemporary relevance of its subject-matter...

Jaan Toomik’s Landscape with Many Moons (Maastik mitme kuuga, 2014)

Vol. 61 (January 2016) by Moritz Pfeifer
Nonsensical and surreal on the outside, Jan Toomik's film is in truth about an age-old conflict of human existence.

Vladimir Loginov’s Anthill (Sipelgapesa, 2015)

Vol. 61 (January 2016) by Moritz Pfeifer
This film finds life inside a run-down Communist housing block.

Otar Iosseliani’s Winter Song (Chant d’hiver, 2015)

Vol. 60 (December 2015) by Moritz Pfeifer
Moritz Pfeifer saw Winter Song, Otar Iosseliani’s attempt to reanimate his trademark comedic style.

Jacek Petrycki’s My Notes from the Underground (Moje zapiski z podziemia, 2011)

Vol. 59 (November 2015) by Moritz Pfeifer
Moritz Pfeifer saw Jacek Petrycki's archival documentary about Polish underground resistance during martial law.

Dalibor Matanić’s The High Sun (Zvizdan, 2015)

Vol. 59 (November 2015) by Moritz Pfeifer
Unlike his postmodern peers, Dalibor Matanić embraces the emotional burden of the Balkan wars in his Cannes-selected feature.

Alexander Sokurov’s Francofonia (2015)

Vol. 59 (November 2015) by Moritz Pfeifer
Alexander Sokurov gets tangled up in delusional idealizations of art in his meditation on the Louvre.
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