Retrospectives
Reflections on stand-out films of the past.

István Szabó’s Sweet Emma, Dear Böbe (Édes Emma, drága Böbe – vázlatok, aktok, 1992)

Vol. 44 (August 2014) by Moritz Pfeifer
István Szabó's most improvised film is also his most unique. The film was shot with no budget in the immediacy of the crumbling Kádár/Grosz regime in 1992.

Živojin Pavlović’s Red Wheat (Rdeče klasje, 1970)

Vol. 44 (August 2014) by Andrej Šprah
Andrej Šprah analyzes Živojin Pavlović’s Red Wheat and interprets the film as an example of the director's notion of the "Drastic Image".

István Szabó’s Mephisto (1981)

Vol. 43 (July 2014) by Moritz Pfeifer
Moritz Pfeifer compares the plot of István Szabó's Mephisto (1981) to the controversy surrounding Kathryn Bigalow's Zero Dark Thirty (2012).

Krzysztof Zanussi’s The Structure of Crystals (Struktura kryształu, 1969)

Vol. 42 (June 2014) by Julia Zelman
Julia Zelman saw this Polish classic in the light of the relationship of its two male protagonists.

Krzysztof Zanussi’s Persona non grata (2005)

Vol. 42 (June 2014) by Konstanty Kuzma
Krzysztof Zanussi’s 2005 film revolves around a diplomat who stubbornly holds on to his outdated ethical code.

Krzysztof Zanussi’s Life as a Fatal Sexually Transmitted Disease (Życie jako śmiertelna choroba przenoszona drogą płciową, 2000)

Vol. 42 (June 2014) by Jack Page
Jack Page unveils the national identity of this multinational production, situating it in Zanussi’s body of work.

Krzysztof Zanussi’s Illumination (Iluminacja, 1973)

Vol. 42 (June 2014) by Moritz Pfeifer
Moritz Pfeifer looks at how Zanussi depicts science and scientists, and how his approach relates to other works on the same topic.

Jerzy Kawalerowicz’s Night Train (Pociag, 1959)

Vol. 40 (April 2014) by A. G. Khandros
Aaron Khandros analyzes Night Train with regards to the new normative order of post-War Poland, relating it to unsolved episodes and traumas of Poland's recent past...

Levan Zaqareishvili’s Tbilisi, Tbilisi (Tbiliso, Tbiliso, 2005)

Vol. 51 (March 2015) by Anna Batori
Anna Batori reviews this well-known Georgian film in the context of its meta-commentary on the Georgian film industry.

Back to the Past: Mnemonic Themes in Contemporary Hungarian Cinema

Vol. 39 (March 2014) by László Strausz
László Strausz (Eötvös Loránd University) surveys the narrational and stylistic tactics engaged by contemporary Hungarian directors in their representation of the historical past.
Page 13 of 24« First...101213141520...Last »