Retrospectives
Reflections on stand-out films of the past.

Jan Hřebejk’s Cosy Dens (Pelíšky, 1999)

Vol. 84 (April 2018) by Colette de Castro
This late 1990s film recounts the normality of everyday life leading up to the Prague Spring.

Wiktor Grodecki’s Not Angels But Angels (1994)

Vol. 79 (November 2017) by Alice Heneghan
Alice Heneghan revisits Wiktor Grodecki's 1994 feature about male prostitutes in Prague.

Metodi Andonov’s The Goat Horn (Koziyat rog, 1972)

Vol. 78 (October 2017) by Yoana Pavlova
What does this Bulgarian classic have to offer beyond its shock aesthetics?

Gustav Machatý’s Erotikon (1929) and Ecstasy (Ekstase, 1933)

Vol. 78 (October 2017) by Colette de Castro
These two films by Gustav Machatý try to capture the uncapturable - the female orgasm.

Věra Chytilová’s Fruit of Paradise (Ovoce stromu rajských jíme, 1970)

Vol. 78 (October 2017) by Zoe Aiano
Who's afraid of female sexuality, Věra Chytilová asks in her 1970 film.

Filming Homosexuality in the Yugoslav Black Wave (1967-1971)

Vol. 78 (October 2017) by Sanja Lazarević Radak
This essay retraces the way Black Wave directors instrumentalized forms of sexuality perceived as "deviant" for their artistic purposes.

Kamen Kalev’s Eastern Plays (Iztochni piesi, 2009)

Vol. 71 (January 2017) by Anna Batori
Kamen Kalev takes on the unrealistic aim of cramming Bulgaria's post-Communist transition into his debut.

Šarūnas Bartas’ The Corridor (1994), In Memory of a Day Gone By (1990), Three Days (1991)

Vol. 70 (December 2016) by Lukas Brašiškis
Lukas Brašiškis argues that it is everyday objects, rather than grand-scale events, which drive the lives of Bartas' early characters.

Soviet Occupation in Baltic Film

Vol. 69 (November 2016) by Zoe Aiano
Zoe Aiano recounts the way WWII films from the Baltics have kept reassigning the roles of culprits, albeit always from a position of moral superiority.

Historical Evidence in the Armenian Films of Yervant Gianikian and Angela Ricci Lucchi

Vol. 69 (November 2016) by Moritz Pfeifer
Moritz Pfeifer places Yervant Gianikian and Angela Ricci Lucchi's Armenian films in the context of the aesthetics that have dominated European memory culture.
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