Mikhail Barynin’s 24 Snow (24 snega, 2016)

Vol. 72 (February 2017) by Moritz Pfeifer
Mikhail Barynin travels to Russia’s Far East to depict what he perceives as the demise of the pastoral tradition.

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.

Ivan Tverdovsky’s Zoology (Zoologiya, 2016)

Vol. 67 (September 2016) by Colette de Castro
A middle-aged zoo worker reinvents herself after starting to grow a tail in this unconvential feature by Ivan Tverdovsky.

Vitaly Mansky’s Under the Sun (V luchakh solnca, 2015)

Vol. 67 (September 2016) by Moritz Pfeifer
Vytaly Mansky's poignant documentary challenges the widely held belief that the indoctrination of people living under a terror regime like North Korea is complete.

Karolina Bielawska’s Call me Marianna (2015), Oleg Mavromati’s No Place for Fools (2015), Alina Rudnistkaya’s Victory Day (2015)

Vol. 64 (April 2016) by Susanne Kappesser
Susanne Kappesser looks at these three films that deal with gender and heteronormativity.

Alexei Fedorchenko’s Angels of Revolution (Angely Revoluciji, 2014)

Vol. 63 (March 2016) by Moritz Pfeifer
Experimental as ever, Alexei Fedorchenko makes revolutionaries clash with indigenous people.

Alexander Sokurov’s Francofonia (2015)

Vol. 59 (November 2015) by Moritz Pfeifer
Alexander Sokurov gets tangled up in delusional idealizations of art in his meditation on the Louvre.

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.

Yuri Bykov’s The Fool (Durak, 2014)

Vol. 54 (June 2015) by Julia Zelman
The moral decay pictured in Yuri Bykov's new film reminds Julia Zelman of Bulgakov's The Master and Margarita.
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