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

Boris Missirkov and Georgi Bogdanov’s Palace for the People (2019)

Vol. 97 (September 2019) by Lucian Tion
Filmmaking duo Boris Missirkov and Georgi Bogdanov travel Eastern Europe to reflect on the lasting legacy of "people's palaces".

Ksenia Okhapkina’s Immortal (Surematu, 2019)

Vol. 97 (September 2019) by Lucian Tion
This tendentious documentary settles old scores concerning Communism in Russia.

Cătălin Mitulescu’s Heidi (2019)

Vol. 97 (September 2019) by Lucian Tion
Cătălin Mitulescu embraces the style and themes of the Romanian New Wave with this story about the ethics of police conduct.

Laila Pakalniņa’s Spoon (Karote, 2019)

Vol. 96 (Summer 2019) by Zoe Aiano
Laila Pakalniņa constructs an experimental documentary around the serial production of plastic spoons.

Yuriy Shylov’s Projectionist (Panorama, 2019)

Vol. 96 (Summer 2019) by Zoe Aiano
A movie projectionist and his work-place compete for the center spot in this ambivalent documentary from Ukraine.

Antonio Lukich’s My Thoughts Are Silent (Moi dumki tikhi, 2019)

Vol. 96 (Summer 2019) by Zoe Aiano
A sound engineer, his mother, and a mysterious duck are the three protagonists of this image-driven road movie.

Robert Budina’s A Shelter Among the Clouds (2018)

Vol. 96 (Summer 2019) by Colette de Castro
An Albanian director pines for (and over) religious reconciliation.

Radu Dragomir’s Mo (2019)

Vol. 96 (Summer 2019) by Colette de Castro
Radu Dragomir applies the living legacy of the Romanian New Wave to themes of the present.

Karel Šindelář’s Why So Sirius? (2018)

Vol. 96 (Summer 2019) by Alice Heneghan
In Karel Šindelář's short film, laughs and tears converge over a dead body.

Larisa Sadilova’s Once in Trubchevsk (Odnazhdy v Trubchevske, 2019)

Vol. 96 (Summer 2019) by Moritz Pfeifer
Larisa Sadilova’s new film tells an unadorned story of adultery.
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