Alexei Fedorchenko’s Angels of Revolution (Angely Revoluciji, 2014)
Experimental as ever, Alexei Fedorchenko makes revolutionaries clash with indigenous people.
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)
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)
Nonsensical and surreal on the outside, Jan Toomik's film is in truth about an age-old conflict of human existence.
This film finds life inside a run-down Communist housing block.
Otar Iosseliani’s Winter Song (Chant d’hiver, 2015)
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)
Moritz Pfeifer saw Jacek Petrycki's archival documentary about Polish underground resistance during martial law.
Unlike his postmodern peers, Dalibor Matanić embraces the emotional burden of the Balkan wars in his Cannes-selected feature.
Alexander Sokurov gets tangled up in delusional idealizations of art in his meditation on the Louvre.
Jerzy Skolimowski's latest film is a multi-strand thriller which ends in rampage and confusion.
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