Iryna Tsilyk’s The Earth Is Blue as an Orange (2020)

Vol. 103 (March 2020) by Zoe Aiano
This film explores everyday life and the role of storytelling in a recovering war zone.

Valentyn Vasyanovych’s Atlantis (2019)

Vol. 102 (February 2020) by Anastasia Eleftheriou
Valentyn Vasyanovych's outlook on future life in Ukraine is dominated by static tableaux, and pessimism.

Sergei Paradjanov’s Kiev Frescoes (Kievski Freski, 1966)

Vol. 103 (March 2020) by Anna Doyle
Anna Doyle revisits Paradjanov's unfinished post-WWII project, which was originally intended as a feature length film.

The Films of Kira Muratova

Vol. 98 (October 2019) by Editors
Our special issue on Kira Muratova explored some dominant themes of her films.

Micol Roubini’s The Way to the Mountains (La strada per le montagne, 2019)

Vol. 101 (January 2020) by Isabel Jacobs
The author of this recent French-Italian co-production feels unwanted while visiting the village where her grandfather used to live.

Kira Muratova’s Long Farewells (Dolgie provody, 1971)

Vol. 98 (October 2019) by Eugénie Zvonkine
Kira Muratova scholar Eugénie Zvonkine revisits the incompleteness of Long Farewells.

Interview with Kira Muratova

Vol. 98 (October 2019) by Alexey Artamonov
We are republishing Alexey Artamonov's 2016 interview with Kira Muratova on the occasion of our special Muratova issue.

The Impossibility of Love in Kira Muratova’s Brief Encounters (Korotkie Vstrechi, 1967)

Vol. 98 (October 2019) by Isabel Jacobs
What does Kira Muratova's classic have to teach us about the radical potential of love?

Yuriy Shylov’s Projectionist (Panorama, 2019)

Vol. 96 (Summer 2019) by Zoe Aiano
A movie projectionist and his work-place compete for the center spot in this ambivalent documentary from Ukraine.

Yuriy Shylov on Projectionist

Vol. 96 (Summer 2019) by Zoe Aiano
Ukrainian filmmaker Yuriy Shylov speaks about the main idea behind his film, and explains how it relates to current happenings in Ukraine.
Page 1 of 51234...Last »
Send this to a friend