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Perspectives
Retrospectives
Interviews
Festivals
Special Issues
ARCHIVE
Search
East European Film Bulletin -
  • Perspectives
  • Retrospectives
  • Interviews
  • Festivals
  • Special Issues
  • ARCHIVE
Review

Jan Němec’s Oratorio for Prague (Oratorium pro Prahu, 1968)

Vol. 84 (April 2018) by Daniil Lebedev
Daniil Lebedev recounts the feeling of shock attending the filming and unfolding of the Prague Spring.
Essay

Maciej Drygas’ Hear My Cry (Usłyszcie mój krzyk!, 1991)

Vol. 84 (April 2018) by Moritz Pfeifer
Moritz Pfeifer locates Maciej Drygas' documentary on the self-immolation of Ryszard Siwiec at the beginning of what can be called the canonization of secret heroes, the rediscovery of political martyrs to construct identity-building historical narratives.
Review

Jan Hřebejk’s Cosy Dens (Pelíšky, 1999)

Vol. 84 (April 2018) by Colette de Castro
This late 1990s film recounts the normality of everyday life leading up to the Prague Spring.
Interview

Jana Počtová on Non-Parent

Vol. 83 (March 2018) by Alice Heneghan
Czech documentarian Jana Počtová discusses her ideas on family and her filmmaking method.
Review

Aleksei German Jr.’s Dovlatov (2018)

Vol. 83 (March 2018) by Daniil Lebedev
Aleksei German Jr. follows the recent trend of biopics with his portrait of Armenian-Jewish writer Sergei Dovlatov.
Review

Ioana Uricaru’s Lemonade (Luna de miere, 2017)

Vol. 83 (March 2018) by Jack Page
Uricaru's debut feature is an embittered and scathing vision of immigrant life in contemporary America.
Review

Peter Bebjak’s The Line (Čiara, 2017)

Vol. 83 (March 2018) by Konstanty Kuzma
This Slovak-Ukrainian co-production picks up two themes whose relevance has only increased since its release last year.
Review

Jana Počtová’s Non-Parent (Nerodič, 2017)

Vol. 83 (March 2018) by Alice Heneghan
Together with her protagonists, Czech documentarian Jana Počtová reflects on parenthood.
Review

Armando Iannucci’s The Death of Stalin (2017)

Vol. 82 (February 2018) by Daniil Lebedev
Daniil Lebedev wonders what are the reasons why public officials in Russia are unable to laugh about this comedy on the times of Soviet terror.
Review

Bernadett Tuza-Ritter’s A Woman Captured (2017)

Vol. 82 (February 2018) by Colette de Castro
This film portrays at once the immense fragility of a woman who has been enslaved for ten years by a Hungarian family, and her startling strength.
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The East European Film Bulletin is a journalistic and literary project dedicated to the criticism of films related to Central, Eastern and South-Eastern Europe.

ISSN 1775-3635

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