Natalija Yefimkina’s Garage People (Garagenvolk, 2020)

Vol. 103 (March 2020) by Zoe Aiano
This documentary explores garages populating the outskirts of Russian towns.

Natalija Yefimkina on Garage People

Vol. 103 (March 2020) by Zoe Aiano
Berlin-based filmmaker Natalija Yefimkina discusses her film and points out how documentary filmmaking lacks support.

Daniil Zinchenko’s Tinnitus (2019)

Vol. 102 (February 2020) by Antonis Lagarias
In his creative documentary, Daniil Zinchenko approaches Death by portraying a 90s underground scene.

Carolin Koss’ Copper Mountains (2019)

Vol. 102 (February 2020) by Antonis Lagarias
This environmental documentary raises questions about the efficacy of political filmmaking.

Abel Ferrara’s Siberia (2020)

Vol. 102 (February 2020) by Konstanty Kuzma
Abel Ferrara takes Willem Dafoe to the woods for his image-laden spectacle.

Andrey Gryazev’s Kotlovan (2020)

Vol. 102 (February 2020) by Konstanty Kuzma
Russian filmmaker Andrey Gryazev assembles a film from YouTube videos addressing president Vladimir Putin.

Boris Akopov’s The Bull (Byk, 2019)

Vol. 101 (January 2020) by Konstanty Kuzma
The 1990s are back in this ideologically reserved crime film from Russia.

Sergey Dvortsevoy’s Bread Day (Khlebnyy den, 1998)

Vol. 99 (November 2019) by Zoe Aiano
A remote village, recurrent routines and a straightforward filmmaking approach harmonize in Dvortsevoy’s early documentary.

Socialism in the Films of Kira Muratova

Vol. 98 (October 2019) by Masha Shpolberg
Masha Shpolberg examines the role of Socialist tropes and symbols in the films of Kira Muratova.

Kira Muratova’s Getting to Know the Big, Wide World (Poznavaya belyy svet, 1979)

Vol. 98 (October 2019) by Giuliano Vivaldi
Giuliano Vivaldi retraces the evolution of Muratova's lyrical style through the lens of her transitional 1979 feature.
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