Marek Kuboš’s Last Self-Portrait (Posledný autoportrét, 2018)

Vol. 89 (November 2018) by Colette de Castro
Marek Kuboš reflects on the limits of the documentary genre and his career.

Iveta Grófová’s Little Harbour (Piata loď, 2017)

Vol. 85 (May 2018) by Alice Heneghan
Iveta Grófová’s latest feature, painted in blue, is a film told from the perspective of a 10-year old girl.

S. Komandarev, M. Szymków, L. Dombrovszky, E. Moskvina & M. E. Scheidt’s Occupation 1968 (2018)

Vol. 84 (April 2018) by Konstanty Kuzma
This collaborative feature misidentifies the ghosts that haunt Europe today.

Peter Bebjak’s The Line (Čiara, 2017)

Vol. 83 (March 2018) by Konstanty Kuzma
This Slovak-Ukrainian co-production picks up two themes whose relevance has only increased since its release last year.

Jan Gebert on When the War Comes

Vol. 82 (February 2018) by Zoe Aiano
We spoke to Czech filmmaker Jan Gebert about his latest documentary, political developments in Central Europe, and differences between journalism and filmmaking.

Jan Gebert’s When the War Comes (Až přijde válka, 2018)

Vol. 82 (February 2018) by Zoe Aiano
Jan Gebert’s film documents the synchronous radicalization and normalization of a Slovak right-wing militia.

Juraj Lehotský’s Nina (2017)

Vol. 81 (January 2018) by Konstanty Kuzma
This look at teenage angst suffers from a superficial engagement with its narrative underpinnings.

Tereza Nvotová’s The Lust for Power (Mečiar, 2017)

Vol. 79 (November 2017) by Zoe Aiano
Tereza Nvotová opens up a subjectivist perspective on Slovak politics.

György Kristóf’s Out (Vychladnutie, 2017)

Vol. 77 (September 2017) by Zoe Aiano
György Kristóf's debut gets tangled up in clicheed depictions of the Wild East.

Robert Kirchhoff’s A Hole in the Head (2016)

Vol. 75 (May 2017) by Jack Page
Kirchhoff’s documentary essay about the Romani holocaust stresses the right to resist the erasure of traumatic artifacts.
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