The Rejection of the Family in Cristian Mungiu’s 4 Months, 3 Weeks and 2 Days (2007) and Călin Peter Netzer’s Child’s Pose (2013)

Vol. 58 (October 2015) by Julia Zelman
Julia Zelman compares the absence of food culture in two arthouse triumphs of the Romanian New Wave.

Symbol and Tradition in Parajanov’s Caucasian Trilogy

Vol. 58 (October 2015) by Moritz Pfeifer
Moritz Pfeifer discusses the symbolic tradition of the pomegranate in the Caucasus and in Parajanov's films.

Otar Iosseliani’s Falling Leaves (Giorgobistve, 1966)

Vol. 58 (October 2015) by Konstanty Kuzma
Konstanty Kuzma looks at the way Iosseliani's film uses the Georgian "supra" feast to contrast two ways of living.

Otar Iosseliani’s Pastorale (Pastorali, 1975)

Vol. 57 (September 2015) by Konstanty Kuzma
Konstanty Kuzma compares Otar Iosseliani's movie from 1975 to the folk tale of the Pied Piper of Hamelin, relating it to aspects of cultural criticism in the movie.

Andrey Konchalovsky’s The Postman’s White Nights (Belye nochi pochtalona Alekseya Tryapitsyna, 2014)

Vol. 57 (September 2015) by Colette de Castro
Colette de Castro reviews Andrei Konchalvosky's newest pic that earned him the Silver Lion at last year's Venice IFF.

Bakur Bakuradze’s Brother Deyan (Brat Deyan, 2015)

Vol. 57 (September 2015) by Moritz Pfeifer
Bakur Bakuradze's cinematic contribution to the human representation of war criminals is theoretically interesting but aesthetically flawed.

Gyula Nemes’ Zero (2015)

Vol. 56 (August 2015) by Colette de Castro
Colette de Castro reviews this controversial film about ecology.

Temur Babluani’s The Sun of the Sleepless (Udzinarta mze, 1992)

Vol. 56 (August 2015) by Konstanty Kuzma
Konstanty Kuzma tries to explain the appeal of Temur Babluani’s seamless classic.

Levan Koguashvili’s Street Days (Quchebis dgeebi, 2010)

Vol. 56 (August 2015) by Anna Batori
Anna Batori saw Levan Koguashvili’s Street Days, which revolves around a heroin addict's plight, and his quest for dignity.

Ilgar Safat’s The Precinct (Sahə, 2010)

Vol. 56 (August 2015) by Moritz Pfeifer
Moritz Pfeifer lauds the dream sequences in Ilgar Safat’s drama, though he ultimately criticizes the film for resorting to tried and tested neorealist techniques.
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