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

Transitioning Between Televisions

Vol. 54 (June 2015) by Rohan Crickmar
Rohan Crickmar examines the Agnieszka Holland's transnational ties with the TV industry.

Gabor Reisz’s For Some Inexplicable Reason (VAN valami furcsa és megmagyarázhatatlan, 2014)

Vol. 54 (June 2015) by Colette de Castro
This debut feature of Gabor Reisz follows Aron, a young cinema studies graduate, from the Hungarian capital to Lisbon and back.

Yuri Bykov’s The Fool (Durak, 2014)

Vol. 54 (June 2015) by Julia Zelman
The moral decay pictured in Yuri Bykov's new film reminds Julia Zelman of Bulgakov's The Master and Margarita.

Darko Lungulov’s Monument to Michael Jackson (Spomenik Majklu Dzeksonu, 2014)

Vol. 53 (May 2015) by Julia Zelman
Julia Zelman ponders Darko Lungulov’s ambivalent relationship with Hollywood dogma.

Asif Rustamov’s Down the River (Axınla aşağı, 2014)

Vol. 53 (May 2015) by Konstanty Kuzma
Konstanty Kuzma wonders what makes this film Azerbaijani beyond its nationalistic slogans.

Men Lereida’s Viktoria: A Tale of Grace and Greed (2014)

Vol. 52 (April 2015) by Moritz Pfeifer
Swiss helmer Men Lereida explores how the Switzerland's adherence to the Schengen and Dublin agreements changed Zurich's red-light district.

Maciej Bochniak’s Disco Polo (2015)

Vol. 52 (April 2015) by Paulina Duda
Paulina Duda criticizes this Polish comedy for copying US-American humor and aesthetics.

A Brief Examination of Some Trends in Polish Comedy Films Since 2005

Vol. 51 (March 2015) by Rohan Crickmar
Rohan Crickmar closely examines recent developments in Poland's comedy landscape, and wonders why they are largely unknown to international audiences.

Tudor Giurgiu’s Why Me? (De ce eu?, 2015)

Vol. 50 (February 2015) by Konstanty Kuzma
Tudor Giurgiu’s latest feature follows the rise and demise of a Romanian state prosecutor fighting the system.

Jan Komasa’s Warsaw ’44 (Miasto ’44, 2014) and Warsaw Uprising (Powstanie Warszawskie, 2014)

Vol. 50 (February 2015) by Colette de Castro
Colette de Castro faults Jan Komasa's newest historical pic for deliberately falsifying history and poorly imitating Hollywood blockbusters.
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