Moritz Pfeifer discusses the symbolic tradition of the pomegranate in the Caucasus and in Parajanov's films.
Bakur Bakuradze's cinematic contribution to the human representation of war criminals is theoretically interesting but aesthetically flawed.
Moritz Pfeifer lauds the dream sequences in Ilgar Safat’s drama, though he ultimately criticizes the film for resorting to tried and tested neorealist techniques.
Moritz Pfeifer critically examines the aspects of identity politics in Atom Egoyan's Calendar, advocating an existential reading of the film's main conflict.
Moritz Pfeifer analyzes the aesthetic and social meaning of the dream in Porumboiu's first medium-length feature of 2004.
Moritz Pfeifer gives a linguistic reading of Porumboiu's first feature length film of 2006.
Moritz Pfeifer questions the neorealist elements in this film and asks why Azerbaijani films have not further explored magical realism as a style.
Moritz Pfeifer traces back the story of Harutyun Khachatryan's 1991 film to the Old Testament.
We met Armenian director Harutyun Khachatryan during the L’Europe autour de l’Europe festival in Paris.
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