Silva Khnkanosian’s Nothing to Be Afraid Of (2019)

Vol. 100 (December 2019) by Zoe Aiano
Silva Khnkanosian's portrait of a post-war demining process manages to do without contextualization or stylistic gimmickry.

Michał Bielawski’s The Wind. A Documentary Thriller (Wiatr. Thriller dokumentalny, 2019)

Vol. 100 (December 2019) by Zoe Aiano
Can the wind account for the "thrilling" drama summoned by Michał Bielawski’s documentary?

Sergey Dvortsevoy’s Bread Day (Khlebnyy den, 1998)

Vol. 99 (November 2019) by Zoe Aiano
A remote village, recurrent routines and a straightforward filmmaking approach harmonize in Dvortsevoy’s early documentary.

Tamara Kotevska and Ljubomir Stefanov’s Honeyland (2019)

Vol. 99 (November 2019) by Zoe Aiano
This all-too perfect documentary dwells on the fate of tradition in the modern world.

Alex Brendea’s Teach (Profu’, 2019)

Vol. 99 (November 2019) by Zoe Aiano
Alex Brendea reverses the dynamics of the classic one-man versus the broken system narrative.

Johana Ožvold’s The Sound is Innocent (2019)

Vol. 99 (November 2019) by Zoe Aiano
This creative documentary tests genre conventions only to lose its way.

Laila Pakalniņa’s Spoon (Karote, 2019)

Vol. 96 (Summer 2019) by Zoe Aiano
Laila Pakalniņa constructs an experimental documentary around the serial production of plastic spoons.

Laila Pakalniņa on Spoon

Vol. 96 (Summer 2019) by Zoe Aiano
Laila Pakalniņa discusses the approach to and rhythm of her project, and shares her thoughts on the need to disappoint sometimes.

Yuriy Shylov’s Projectionist (Panorama, 2019)

Vol. 96 (Summer 2019) by Zoe Aiano
A movie projectionist and his work-place compete for the center spot in this ambivalent documentary from Ukraine.

Yuriy Shylov on Projectionist

Vol. 96 (Summer 2019) by Zoe Aiano
Ukrainian filmmaker Yuriy Shylov speaks about the main idea behind his film, and explains how it relates to current happenings in Ukraine.
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