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

Kantemir Balagov’s Closeness (Tesnota, 2017)

Vol. 80 (December 2017) by Daniil Lebedev
A family must find a way of saving their newlywed son who is kidnapped along with his wife in this Kabardo-Jewish drama.
Essay

Andrey Zvyagintsev’s Loveless (Nelyubov, 2017)

Vol. 77 (September 2017) by Moritz Pfeifer
Andrey Zvyagintsev's latest film is an overambitious metaphor about how we deal with our children.
Interview

Vitaly Mansky on Under the Sun

Vol. 75 (May 2017) by Anastasia Eleftheriou
Documentary filmmaker Vitaly Mansky discusses his North Korean-set film Under the Sun, which offers fascinating views of the country behind its widely documented facade.
Review

Rezo Gigineishvili’s Hostages (2017)

Vol. 72 (February 2017) by Carlos Kong
Rezo Gigineishvili reconstructs the tragic hijacking of a Soviet plane.
Review

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.
Review

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.
Review

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.
Essay

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.
Essay

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.
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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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