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

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.

Micol Roubini’s The Way to the Mountains (La strada per le montagne, 2019)

Vol. 101 (January 2020) by Isabel Jacobs
The author of this recent French-Italian co-production feels unwanted while visiting the village where her grandfather used to live.

Levan Akin’s And Then We Danced (2019)

Vol. 101 (January 2020) by Konstanty Kuzma
Levan Akin's story of forbidden love advocates a form of progressive patriotism.

Peter Kerekes’ BATAstories (Baťa, první globalista, 2018)

Vol. 101 (January 2020) by Konstanty Kuzma
Peter Kerekes' film touches on all the problems of global capitalism without addressing any of them.

Marko Škop’s Let There Be Light (Nech je svetlo, 2019)

Vol. 101 (January 2020) by Konstanty Kuzma
Masculinity hits back in rural Slovakia in Marko Škop’s highly unfunny feature.

Nadja Andrasev’s Symbiosis (2019)

Vol. 100 (December 2019) by Melina Tzamtzi
In this short animation, a betrayed woman begins developing curious ways of dealing with her findings.
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