Šarūnas Bartas on his Work

Vol. 70 (December 2016) by Lukas Brašiškis
Bartas responds to our questions concerning his films, his style, and his philosophy.

Goran Škofić’s Sector (2015) & Elena Artemenko’s Soft Power (2016)

Vol. 70 (December 2016) by Rohan Crickmar
Sector and Soft Power use choreography as a metaphor for cohesion and division respectively.

Andrea Slováková’s Recovering Industry (Rekonstrukce průmyslu, 2015)

Vol. 70 (December 2016) by Rohan Crickmar
Film theorist and documentarian Andrea Slováková explores the matrix of industrial interdependencies.

Aljona Surzhikova’s Not My Land (Suur-Sõjamäe, 2015)

Vol. 70 (December 2016) by Isabelle de Pommereau
Aljona Surzhikova explores the suppressed topic of Estonia's Russian-speaking minority.

Dalibor Barić’s Nepoznate energije, neidentificirani osjećaji (2015)

Vol. 70 (December 2016) by Rohan Crickmar
In his most ambitious animation to-date, Dalibor Barić explores the limits of formal and narrative experimentation.

Szabolcs Hajdu’s It’s Not the Time of My Life (Ernelláék Farkaséknál, 2016)

Vol. 70 (December 2016) by Anna Batori
Szabolcs Hajdu is back with a feature starring his family as cast and their apartment as setting.

Šarūnas Bartas’ The Corridor (1994), In Memory of a Day Gone By (1990), Three Days (1991)

Vol. 70 (December 2016) by Lukas Brašiškis
Lukas Brašiškis argues that it is everyday objects, rather than grand-scale events, which drive the lives of Bartas' early characters.

Ana Hušman’s Almost Nothing (2016) & Péter Lichter’s Non-Places: Beyond the Infinite (2016)

Vol. 70 (December 2016) by Rohan Crickmar
A Hungarian film infused with philosophical obsessions with decay and Ana Hušman’s latest work both dwell upon what is absented from vision.

Yervant Gianikian and Angela Ricci Lucchi on their Armenian Films

Vol. 69 (November 2016) by Moritz Pfeifer
The artist duo speak about their preoccupation with and interest in the Armenian genocide.

Soviet Occupation in Baltic Film

Vol. 69 (November 2016) by Zoe Aiano
Zoe Aiano recounts the way WWII films from the Baltics have kept reassigning the roles of culprits, albeit always from a position of moral superiority.
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