Sergei Loznitsa’s Donbass (2018)

Vol. 85 (May 2018) by Zoe Aiano
In his latest film, Loznitsa dwells on the cacophony and chaos of the Donbass region.

Stephan Komandarev’s Directions (Posoki, 2017)

Vol. 85 (May 2018) by Zoe Aiano
It is literally night on earth in this cab-set feature from Bulgaria.

Daniel Sandu’s One Step Behind the Seraphim (Un pas în urma serafimilor, 2017)

Vol. 85 (May 2018) by Zoe Aiano
In this debut feature, a group of teenagers enter a seminary in 1990s Romania.

Adina Pintilie’s Touch Me Not (2018)

Vol. 85 (May 2018) by Zoe Aiano
In her experimental and personal feature that won her the main award at the 2018 Berlinale, Adina Pintilie meditates on the theme of intimacy.

Adina Pintilie on Touch Me Not

Vol. 85 (May 2018) by Zoe Aiano
We met filmmaker Adina Pintilie to speak to her about her 2018 Golden Bear winner.

Nicolas Wagnières’ Hotel Jugoslavija (2017)

Vol. 85 (May 2018) by Zoe Aiano
Hotel Jugoslavija charts the concomitant rise and fall of the eponymous building in Belgrade and the country from which it takes its name.

Bojina Panayotova’s I See Red People (Je vois rouge, 2018)

Vol. 82 (February 2018) by Zoe Aiano
This highly personal docu-essay revisits Bulgaria's Communist past through a generational conflict.

Jan Gebert on When the War Comes

Vol. 82 (February 2018) by Zoe Aiano
We spoke to Czech filmmaker Jan Gebert about his latest documentary, political developments in Central Europe, and differences between journalism and filmmaking.

Jan Gebert’s When the War Comes (Až přijde válka, 2018)

Vol. 82 (February 2018) by Zoe Aiano
Jan Gebert’s film documents the synchronous radicalization and normalization of a Slovak right-wing militia.

Apolena Rychlíková’s The Limits of Work (Hranice prace, 2017)

Vol. 80 (December 2017) by Zoe Aiano
A director and a journalist explore the domestic periphery of Capitalism in this Czech documentary.
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