Retrospectives

Retrospectives
Reflections on stand-out films of the past.

Evald Schorm’s The Seventh Day, the Eighth Night (Den sedmý, osmá noc, 1969)

Konstanty Kuzma argues that Evald Schorm's 1969 film fails to refer to its allegorical target, the Prague Spring.

Patricia Bass addresses director János Szász's unimaginative obsession with shock and wickedness.

In this Hungarian film by Ildikó Enyedi, Dorothy Segda takes on the roles of two sisters whose dissimilar lifestyles illustrate modernity's polarity.

Beth Holmgren (Duke University) takes a close look at how recent Eastern European cinema is exhuming the cold-war era secret police.

Julia Zelman saw Radim Špaček's 1998 debut.

Colette de Castro reviews this recent film compiled from police training videos from Hungary’s Communist era.

Julia Zelman ponders about Pálfi’s vision of nature, and finds curious cinematic references to his 2002 debut feature.

Ana Ribeiro discusses György Pálfi’s cult movie from 2006.

Konstanty Kuzma finds parallels between Zoltán Fábri’s 1956 political critique and the current Hungarian government.

This investigative documentary by Alexandru Solomon retraces the activity of the Romanian service of Radio Free Europe during Ceaușescu’s reign.