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

Masha Novikova’s Daymohk (2019)

Vol. 106 (Summer 2020) by Patricia Bass
A Chechen family's rags-to-riches story is taken with a grain of salt.

David Teboul’s Mon Amour (2020)

Vol. 106 (Summer 2020) by Colette de Castro
A French filmmaker revisits a past love in the Far East.

Lothar Herzog’s 1986 (2019)

Vol. 106 (Summer 2020) by Jack Page
A student from Minsk navigates life between school and her father's nefarious legacy.

Yuriy Hrytsyna’s Varta1 (2014) & Mykola Ridnyi’s Regular Places (2015)

Vol. 105 (May 2020) by Oleksiy Kuchansky
Oleksiy Kuchansky studies the expression of political instability as a form of artistic and political action.

Jan Komasa’s Corpus Cristi (Boże Ciało, 2019) & Wojciech Smarzowski’s Clergy (Kler, 2018)

Vol. 104 (April 2020) by Colette de Castro
Two recent films from Poland reflect on the role of the church in the 21st century.

Four Animated Shorts By Ülo Pikkov

Vol. 104 (April 2020) by Mariana Hristova
Four animated shorts by Ülo Pikkov reveal how the Estonian filmmaker deals with traumas from the past.

Anna Eborn’s Transnistra (2019)

Vol. 103 (March 2020) by Daniil Lebedev
Daniil Lebedev reflects on the power of improvisation in film.

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.
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