Ivan Ostrochovský and Pavol Pekarčík’s Photophobia (Svetloplachosť, 2023)

Vol. 144 (April 2024) by Martin Kudláč
Ivan Ostrochovský and Pavol Pekarčík reunite for a docu-fiction hybrid set against the ongoing Russo-Ukrainian war.

Jaro Vojtek’s The Third End of the Stick (Tretí koniec palice, 2023)

Vol. 143 (March 2024) by Martin Kudláč
A humanist look at identity in a marginalized group.

Vera Lacková’s How I Became a Partisan (Ako som sa stala partizánkou, 2021)

Vol. 132 (February 2023) by Alice Heneghan
A young woman inquires into the story of her grandfather and the forgotten fate of Roma during WWII.

Péter Kerekes’ 107 Mothers (Cenzorka, 2021)

Vol. 121 (January 2022) by Maxim Plokhikh
Slovak filmmaker Péter Kerekes depicts the life of 107 mothers in a prison in Odessa.

Marko Škop’s Let There Be Light (Nech je svetlo, 2019)

Vol. 101 (January 2020) by Konstanty Kuzma
Masculinity hits back in rural Slovakia in Marko Škop’s highly unfunny feature.

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.
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