Andrei Dăscălescu’s Planet Petrila (Planeta Petrila, 2017)
Following events in a Romanian mining town, Planet Petrila charts the struggles of the local inhabitants as they attempt to save industrial buildings from destruction.
Šarūnas Bartas addresses the Ukrainian elephant in the room by thematically picking up the country’s ongoing, political crisis.
Dmytro Moyseyev’s Chrysanthemum’s Time (Chas khrizantem, 2017)
A recent widow roams through Kiev to re-negotiate her place in the world.
Vuletić reveals what inspired him to make his film, and whether he thinks there really is a place for optimism in his bleak vision of post-Yugoslav reality.
Bojan Vuletić’s Requiem for Mrs. J (Rekvijem za gospođu J., 2017)
Bojan Vuletić’s feature offers a bleak vision of post-Yugoslav reality.
Oneli speaks about the making of his film, his conceptual approach, and plans for the future.
Ildikó Enyedi’s On Body and Soul (Testről és lélekről, 2017)
Ildikó Enyedi’s On Body and Soul, winner of the Golden Bear, suffers from its stylistic eclecticism.
Nana Ekvtimishvili and Simon Gross’ My Happy Family (Chemi bednieri ojakhi, 2017)
This Georgian feature tells the story of a family woman and her sudden urge to live an independent life.
Călin Peter Netzer’s latest feature revolves around a couple and their antipodal fates.
Július Ševčík returns to Czech cinema’s favorite historical theme: the 1938 Munich agreement.
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