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

Valentyn Vasyanovych’s Black Level (Riven’ chornoho, 2017)

Vol. 91 (January 2019) by Isabel Jacobs
This low-budget feature from Ukraine gets entangled in compulsive experimentation.

Alisa Kovalenko’s Home Games (2018)

Vol. 91 (January 2019) by Jack Page
A young woman is forced to choose between following her dream of playing football and caring for her siblings.

Ivan Salatić’s You Have the Night (Ti imaš noć, 2018)

Vol. 90 (December 2018) by Konstanty Kuzma
Ivan Salatić’s debut feature is clumsily poised between personal drama and city study.

Kristīne Briede and Audrius Stonys’ Bridges of Time (Laika tilti, 2018)

Vol. 90 (December 2018) by Zoe Aiano
Kristīne Briede and Audrius Stonys revisit the protagonists of Baltic Poetic Documentary.

Lauri Lagle’s Portugal (2018)

Vol. 90 (December 2018) by Zoe Aiano
Both protagonist and script to Lauri Lagle’s feature suffer from existential disorientation.

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.
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