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Perspectives
Retrospectives
Interviews
Festivals
Special Issues
ARCHIVE
Search
East European Film Bulletin -
  • Perspectives
  • Retrospectives
  • Interviews
  • Festivals
  • Special Issues
  • ARCHIVE

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

Review

Michał Bielawski’s The Wind. A Documentary Thriller (Wiatr. Thriller dokumentalny, 2019)

Vol. 100 (December 2019) by Zoe Aiano
Can the wind account for the "thrilling" drama summoned by Michał Bielawski’s documentary?
Review

Svetla Tsotsorkova’s Sister (Sestra, 2019)

Vol. 100 (December 2019) by Lucian Tion
Svetla Tsotsorkova hunts for clichees and prejudices about life on the periphery.
Review

Vinko Brešan’s What a Country! (Koja je ovo drzava!, 2018)

Vol. 99 (November 2019) by Lucian Tion
Vinko Brešan's mercurial comedy calls for the abolition of the Croatian state.
Review

Dmitry Mamuliya’s The Criminal Man (Borotmokmedi, 2019)

Vol. 99 (November 2019) by Lucian Tion
Dmitry Mamuliya's film gets tangled up in its subjectivist premise.
Review

Tamara Kotevska and Ljubomir Stefanov’s Honeyland (2019)

Vol. 99 (November 2019) by Zoe Aiano
This all-too perfect documentary dwells on the fate of tradition in the modern world.
Review

Alex Brendea’s Teach (Profu’, 2019)

Vol. 99 (November 2019) by Zoe Aiano
Alex Brendea reverses the dynamics of the classic one-man versus the broken system narrative.
Review

Johana Ožvold’s The Sound is Innocent (2019)

Vol. 99 (November 2019) by Zoe Aiano
This creative documentary tests genre conventions only to lose its way.
Review

Natasha Merkulova and Aleksey Chupov’s The Man Who Surprised Everyone (Tchelovek Kotorij Udivil Vseh, 2018)

Vol. 98 (October 2019) by Anastasia Eleftheriou
In their second feature, Natasha Merkulova and Aleksey Chupov approach issues surrounding gender politics and sexual norms through a local folk-tale.
Review

Juris Kursietis’ Oleg (Oļeg, 2019)

Vol. 97 (September 2019) by Anastasia Eleftheriou
Is our culture of awareness conducive to our forgetting where the problems lie?
Review

Maria Saakyan’s Entropy (Entropiya, 2012)

Vol. 97 (September 2019) by Vadim Dumesh
In 2012, Maria Saakyan made a 180°-turn by leaving behind arthouse aesthetics in her popculture-induced and highly referential vision of apocalypse.
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The East European Film Bulletin is a journalistic and literary project dedicated to the criticism of films related to Central, Eastern and South-Eastern Europe.

ISSN 1775-3635

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