Retrospectives
Reflections on stand-out films of the past.

The Politics of Recognition: Jews in Czech and Polish Post-Communist Cinema

Vol. 28 (April 2013) by Ewa Mazierska
Ewa Mazierska (University of Central Lancashire) discusses the representations of Jews in Polish and Czech films in postwar cinema.

Drahomíra Vihanová’s Squandered Sunday (Zabitá neděle, 1969)

Vol. 28 (April 2013) by Konstanty Kuzma
In Drahomíra Vihanová's feature debut, a young army officer contemplates suicide.

Jan Němec’s A Report on the Party and the Guests (O slavnosti a hostech, 1966)

Vol. 28 (April 2013) by Moritz Pfeifer
Moritz Pfeifer saw this film by Jan Němec, which was banned in 1966 and only made available after the Velvet Revolution in Czechoslovakia.

Věra Chytilová’s Daisies (Sedmikrásky, 1966)

Vol. 28 (April 2013) by Patricia Bass
Patricia Bass compares aspects of Věra Chytilová's Daisies to the American TV-Series The Jersey Shore.

Karel Vachek’s Moravian Hellas (Moravská Hellas, 1963)

Vol. 28 (April 2013) by Julia Zelman
Julia Zelman saw Karel Vachek's satirical documentary on a folklore festival in Czechoslovakia.

Hermann Kosterlitz’s Peter (1934)

Vol. 27 (March 2013) by Colette de Castro
Colette de Castro reports from this year's Berlinale retrospective, reviewing an 1934 German-Hungarian comedy.

Miklós Jancsó’s Cantata (Oldás és kötés, 1964)

Vol. 27 (March 2013) by Moritz Pfeifer
Moritz Pfeifer asks whether Miklós Jancsó's second feature Cantata achieves its existentialist goals.

Some Comments on Bells from the Deep: Faith and Superstition in Russia (1993)

Vol. 27 (March 2013) by Pau Bosch Santos
Pau Bosch Santos sheds some light on Werner Herzog's film on Russian mysticism.

Sándor Mihályfy’s The Train-Stop Comes Alive (Indul a bakterház, 1980)

Vol. 26 (February 2013) by Moritz Pfeifer
Moritz Pfeifer saw this Hungarian TV comedy from 1980.

Miklós Jancsó’s Wake Up, Mate, Don’t You Sleep (Kelj fel, komám, ne aludjál!, 2002)

Vol. 26 (February 2013) by Konstanty Kuzma
Konstanty Kuzma argues that Miklós Jancsó's problematic film from 2002 points to his artistic arrogance.
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