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

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.

Abel Ferrara’s Siberia (2020)

Vol. 102 (February 2020) by Konstanty Kuzma
Abel Ferrara takes Willem Dafoe to the woods for his image-laden spectacle.

Andrey Gryazev’s Kotlovan (2020)

Vol. 102 (February 2020) by Konstanty Kuzma
Russian filmmaker Andrey Gryazev assembles a film from YouTube videos addressing president Vladimir Putin.

Boris Akopov’s The Bull (Byk, 2019)

Vol. 101 (January 2020) by Konstanty Kuzma
The 1990s are back in this ideologically reserved crime film from Russia.
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