Armenian filmmaker Shoghakat Vardanyan recounts what it meant to develop a film about her brother's wartime disappearance.
Kristina Grozeva and Petar Valchanov team up again for this satirical take on the futility of hierarchies.
Nora Furlong revisits Grigori Aleksandrov’s 1936 Circus and Ernst Lubitsch’s 1939 Ninotchka as well as two competing visions of femininity.
Adam Martinec portrays an age-old tradition against the backdrop of an awkward family gathering.
This film tells the story of Libuše Jarcovjáková, a Czech photographer who struggled to make a name for herself throughout her life.
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.
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.
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...