Anna Doyle revisits the 1970s and a film group formed by students of the National Film School in Łódź.
Kaja, I'll Kill You has all the elements of a Yugoslav war drama yet always moves away from mere historical reconstruction.
Pau Bosch Santos places some of Polish director Wojciech Has' artistic approaches in a biographical context.
Daniel Brennan brings out neglected aspects of Věra Chytilová's 1966 masterpiece through a reading that focuses on its use of farce.
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.
Moritz Pfeifer discusses the symbolic tradition of the pomegranate in the Caucasus and in Parajanov's films.
Jan Komasa enters into the lives of suicidal people who meet online to share their feelings with fellow-minded souls.
Patricia Bass compares aspects of Věra Chytilová's Daisies to the American TV-Series The Jersey Shore.
Jan Hřebejk’s new film examines the endeavors of two couples to spice up their sex lives.
Mircea Daneliuc, born in 1943, was one of the few Romanian filmmakers resisting the Communist system. Films like Microfone Test (1980) or The Cruise (1981) did not pass censorship for their ridiculing critique...
Daniel Fuller looks at the way a Ukrainian computer game transfigured folkloric processes of remembering, drawing parallels to Andrei Tarkovsky’s Stalker.
In this film by Hungarian helmer Kornél Mundruczó, a young man returns to his hometown to settle down.
