Harutyun Khachatryan on Endless Escape, Eternal Return

Vol. 52 (April 2015) by Moritz Pfeifer
We met Armenian director Harutyun Khachatryan during the L’Europe autour de l’Europe festival in Paris.

Agnieszka Holland on European Cinema

Vol. 52 (April 2015) by Moritz Pfeifer
We met Polish director Agnieszka Holland during the L'Europe autour de l'Europe festival in Paris.

Men Lereida’s Viktoria: A Tale of Grace and Greed (2014)

Vol. 52 (April 2015) by Moritz Pfeifer
Swiss helmer Men Lereida explores how the Switzerland's adherence to the Schengen and Dublin agreements changed Zurich's red-light district.

Harutyun Khachatryan’s Return of the Poet (Poeti veradardze, 2005)

Vol. 52 (April 2015) by Moritz Pfeifer
Moritz Pfeifer looks at this deeply nostalgic journey of the statue of the poet Javini traveling back home.

Eldar Shengelaia’s Blue Mountains aka An Unbelievable Story (Tsisperi mtebi anu daujerebeli ambavi, 1984)

Vol. 51 (March 2015) by Moritz Pfeifer
Moritz Pfeifer deliberates comedic elements in this parody of Soviet bureaucracy.

Rodion Ismailov’s My Kith and Kin (Doğma ocaq, 2012)

Vol. 50 (February 2015) by Moritz Pfeifer
Moritz Pfeifer reviews this documentary about a young Russian girl who visits her father's family in Azerbaijan for the first time.

Eileen Hofer’s He Was a Giant with Brown Eyes (2012)

Vol. 50 (February 2015) by Moritz Pfeifer
Swiss helmer Eileen Hofer's first feature film is a docu-fiction about a Swiss teenager looking for her Azerbaijani origins.

Elchin Musaoglu’s Nabat (2014)

Vol. 49 (January 2015) by Moritz Pfeifer
Moritz Pfeifer criticizes this film about the Nagorno-Karabakh War for individualizing the experience of war.

Elvin Adigozel and Ru Hasanov’s Chameleon (Buqälämun, 2013)

Vol. 49 (January 2015) by Moritz Pfeifer
Moritz praises this first feature from Azerbaijan about a clash of generations.

Krzysztof Skonieczny’s Hardkor Disko (2014) & al.

Vol. 48 (December 2014) by Moritz Pfeifer
Moritz Pfeifer discusses aspects of identity crisis in Krzysztofa Skoniecznego's film and criticizes its hyper-individualized characters in the context of other contemporary films.
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