Kuba Czekaj’s The Erlprince (Królewicz Olch, 2017)

Vol. 73 (March 2017) by Rohan Crickmar
Kuba Czekaj's masterfully stylized feature is an eccentric coming-of-age-story.

Goran Škofić’s Sector (2015) & Elena Artemenko’s Soft Power (2016)

Vol. 70 (December 2016) by Rohan Crickmar
Sector and Soft Power use choreography as a metaphor for cohesion and division respectively.

Andrea Slováková’s Recovering Industry (Rekonstrukce průmyslu, 2015)

Vol. 70 (December 2016) by Rohan Crickmar
Film theorist and documentarian Andrea Slováková explores the matrix of industrial interdependencies.

Dalibor Barić’s Nepoznate energije, neidentificirani osjećaji (2015)

Vol. 70 (December 2016) by Rohan Crickmar
In his most ambitious animation to-date, Dalibor Barić explores the limits of formal and narrative experimentation.

Ana Hušman’s Almost Nothing (2016) & Péter Lichter’s Non-Places: Beyond the Infinite (2016)

Vol. 70 (December 2016) by Rohan Crickmar
A Hungarian film infused with philosophical obsessions with decay and Ana Hušman’s latest work both dwell upon what is absented from vision.

Petr Kazda and Tomas Weinreb’s I, Olga Hepnarova (Já, Olga Hepnarová, 2016)

Vol. 63 (March 2016) by Rohan Crickmar
I, Olga Hepnarova is a masterfully shot slow-burner about an unlikely murderer.

Gdynia 2015

Vol. 57 (September 2015) by Rohan Crickmar
Rohan Crickmar was in Gdynia to cover one of the major Polish film events for us.

Transitioning Between Televisions

Vol. 54 (June 2015) by Rohan Crickmar
Rohan Crickmar examines the Agnieszka Holland's transnational ties with the TV industry.

A Brief Examination of Some Trends in Polish Comedy Films Since 2005

Vol. 51 (March 2015) by Rohan Crickmar
Rohan Crickmar closely examines recent developments in Poland's comedy landscape, and wonders why they are largely unknown to international audiences.
Page 2 of 212