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

Małgorzata Szumowska’s Body (2015)

Vol. 50 (February 2015) by Konstanty Kuzma
Małgorzata Szumowska’s Berlinale in-competition dramedy is spongy.

Radu Jude’s Aferim! (2015)

Vol. 50 (February 2015) by Konstanty Kuzma
Radu Jude joined the Berlinale competition line-up with a powerful historical epic.

Zaza Urushadze’s Tangerines (Mandariinid, 2013)

Vol. 49 (January 2015) by Julia Zelman
Two enemies must learn how to get along in this Estonian-Georgian film by Zaza Urushadze.

Elchin Musaoglu’s Nabat (2014)

Vol. 49 (January 2015) by Moritz Pfeifer
Moritz Pfeifer criticizes this film about the Nagorno-Karabakh War for individualizing the experience of war.

Nataliya Belyauskene’s If Only Everyone… (Ete Bolor…, 2012)

Vol. 49 (January 2015) by Konstanty Kuzma
Konstanty Kuzma wonders whether the pacifistic pathos of films like If Only Everyone.... justifies their existence.

Fatih Akin’s The Cut (2014)

Vol. 49 (January 2015) by Konstanty Kuzma
Fatih Akin's latest film follows the fate of an Armenian family separated in the course of Ottoman purges. Politically, the film caused an uproar, but what about its artistic appeal?

Elvin Adigozel and Ru Hasanov’s Chameleon (Buqälämun, 2013)

Vol. 49 (January 2015) by Moritz Pfeifer
Moritz praises this first feature from Azerbaijan about a clash of generations.

Krzysztof Skonieczny’s Hardkor Disko (2014) & al.

Vol. 48 (December 2014) by Moritz Pfeifer
Moritz Pfeifer discusses aspects of identity crisis in Krzysztofa Skoniecznego's film and criticizes its hyper-individualized characters in the context of other contemporary films.

Aleksandra Gowin and Ireneusz Grzyb’s Little Crushes (Małe stłuczki, 2014)

Vol. 47 (November 2014) by Julia Zelman
Julia Zelman recognizes traces of Truffaut's Jules et Jim in Little Crushes but criticizes the film's loose plot line.

Wojciech Smarzowski’s The Mighty Angel (Pod Mocnym Aniołem, 2014)

Vol. 47 (November 2014) by Paulina Duda
Paulina Duda makes a case for Smarzowski's new film and argues that much of the film's credit should go to its editor.
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