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

László Nemes’ Sunset (Napszállta, 2018)

Vol. 89 (November 2018) by Isabel Jacobs
László Nemes’ follow-up to Son of Saul returns to the conflict-ridden pre-WWI period.

Maria Avdjushko’s Fire Lily (Tuliliilia, 2018)

Vol. 89 (November 2018) by Zoe Aiano
Maria Avdjushko tackles motherhood in a film poised between psychological thriller and horror film.

Alexandar Mihalkovich’s My Granny from Mars (Moya Babushka S Marsa, 2018)

Vol. 89 (November 2018) by Colette de Castro
Belorussian filmmaker Alexandar Mihalkovich portrays his family's arduous attempt to visit his grandmother in Crimea.

László Csuja’s Blossom Valley (Virágvölgy, 2018)

Vol. 89 (November 2018) by Jack Page
László Csuja tries genre constraints in his coming-of-age road movie.

Marek Kuboš’s Last Self-Portrait (Posledný autoportrét, 2018)

Vol. 89 (November 2018) by Colette de Castro
Marek Kuboš reflects on the limits of the documentary genre and his career.

Daisies: A Photo Essay

Vol. 88 (October 2018) by Jessica Sadana
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.

Ewa Banaszkiewicz & Mateusz Dymek’s My Friend the Polish Girl (2018), Rustam Khamdamov’s The Bottomless Bag (2018)

Vol. 87 (September 2018) by Yoana Pavlova
Yoana Pavlova wonders where East and West can meet in times of the #MeToo movement.

Przemysław Branas’ Untitled (2017)

Vol. 87 (September 2018) by Łukasz Mojsak
Łukasz Mojsak returns to a Przemysław Branas video created for last year’s VIEWS 2017 exhibition in Warsaw, unearthing historical and topical themes of violence.

Notes on Multimedia Montage

Vol. 87 (September 2018) by Igor Simić
Artist-filmmaker Igor Simić shares his thoughts on montage, new media and the the future of cinema.

Mihovil Pansini’s Scusa Signorina (1963) & Karla Tobar’s <scanner_pack> project (2017)

Vol. 87 (September 2018) by Karla Tobar
Experimental filmmaker Karla Tobar reflects on her cinematic meeting with Mihovil Pansini's Scusa Signorina, a Yugoslav antifilm.
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