Perspectives
The latest in Central, Eastern and South-Eastern European cinema.

Jan Komasa’s Corpus Cristi (Boże Ciało, 2019) & Wojciech Smarzowski’s Clergy (Kler, 2018)

Vol. 104 (April 2020) by Colette de Castro
Two recent films from Poland reflect on the role of the church in the 21st century.

Four Animated Shorts By Ülo Pikkov

Vol. 104 (April 2020) by Mariana Hristova
Four animated shorts by Ülo Pikkov reveal how the Estonian filmmaker deals with traumas from the past.

Anna Eborn’s Transnistra (2019)

Vol. 103 (March 2020) by Daniil Lebedev
Daniil Lebedev reflects on the power of improvisation in film.

Radu Jude’s Uppercase Print (Tipografic majuscul, 2020)

Vol. 103 (March 2020) by Zoe Aiano
Radu Jude continues to pursue two missions that have come to define his career.

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.

Natalija Yefimkina’s Garage People (Garagenvolk, 2020)

Vol. 103 (March 2020) by Zoe Aiano
This documentary explores garages populating the outskirts of Russian towns.

Daniil Zinchenko’s Tinnitus (2019)

Vol. 102 (February 2020) by Antonis Lagarias
In his creative documentary, Daniil Zinchenko approaches Death by portraying a 90s underground scene.

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.

Adilkhan Yerzhanov’s A Dark-Dark Man (2019)

Vol. 102 (February 2020) by Anastasia Eleftheriou
Kazakh filmmaker Adilkhan Yerzhanov's latest film conveys an impression of stylistic undecidedness.

Carolin Koss’ Copper Mountains (2019)

Vol. 102 (February 2020) by Antonis Lagarias
This environmental documentary raises questions about the efficacy of political filmmaking.
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