Editorial
Film critics have often waxed eloquent concerning Kira Muratova’s cardinal device, the love of the double, represented through the mirror, the twin, and the double shot; through tautologies and reduplicated lines of dialogue. They’ve also talked about the non-linearity of her work, the seemingly unthinking drift of the camera; the way it’s distracted by a...
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Vol. 98 (October 2019)
In his essay on the Polaroids of Andrei Tarkovsky, Gawan Fagard draws parallels between the ontology of the medium and the work of the Russian director.
EEFB's Věra Chytilová issue features our first photo-essay. Made by Indian filmmaker Jessica Sadana, it is a meditation on themes from Chytilová's seminal Daisies.
Maria Kuvshinova reflects on the bar set by Ukrainian filmmaker Sentsov for measuring dignity. Sentsov recently went on a hunger strike demanding the release of Ukrainian political prisoners in Russia, where he himself is serving a 20-year sentence.
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