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)
In this debut feature, a group of teenagers enter a seminary in 1990s Romania.
In her experimental and personal feature that won her the main award at the 2018 Berlinale, Adina Pintilie meditates on the theme of intimacy.
We met filmmaker Adina Pintilie to speak to her about her 2018 Golden Bear winner.
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)
This highly personal docu-essay revisits Bulgaria's Communist past through a generational conflict.
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 film documents the synchronous radicalization and normalization of a Slovak right-wing militia.
Apolena Rychlíková’s The Limits of Work (Hranice prace, 2017)
A director and a journalist explore the domestic periphery of Capitalism in this Czech documentary.
Tereza Nvotová opens up a subjectivist perspective on Slovak politics.
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