Retrospectives
Reflections on stand-out films of the past.

Short Film Program (Beyond Belonging)

Vol. 64 (April 2016) by Greg de Cuir
Greg de Cuir presents a selection of short films that conceptually address intersubjective questions of “Otherness”.

Laila Pakalniņa’s The Shoe (Kurpe, 1998)

Vol. 63 (March 2016) by Zoe Aiano
Zoe Aiano joins EEFB with a review of Laila Pakalniņa's elusive debut feature from 1998.

Adaptation and Other Demons

Vol. 60 (December 2015) by Aka Morchiladze
Georgian writer, historian and screenwriter Aka Morchiladze examines the phenomenon of literary adaptations in the Soviet Union, and in Georgia in particular.

Otar Iosseliani’s April (Aprili, 1962)

Vol. 60 (December 2015) by Julia Zelman
Julia Zelman searches for meaning in Otar Iosseliani’s elusive directorial debut.

Alexandru Solomon’s The Great Communist Bank Robbery (Marele jaf comunist, 2004)

Vol. 59 (November 2015) by Konstanty Kuzma
Alexandru Solomon's 2004 documentary looks at Communist Romania through the perspective of a famous bank robbery.

Symbol and Tradition in Parajanov’s Caucasian Trilogy

Vol. 58 (October 2015) by Moritz Pfeifer
Moritz Pfeifer discusses the symbolic tradition of the pomegranate in the Caucasus and in Parajanov's films.

Otar Iosseliani’s Falling Leaves (Giorgobistve, 1966)

Vol. 58 (October 2015) by Konstanty Kuzma
Konstanty Kuzma looks at the way Iosseliani's film uses the Georgian "supra" feast to contrast two ways of living.

Otar Iosseliani’s Pastorale (Pastorali, 1975)

Vol. 57 (September 2015) by Konstanty Kuzma
Konstanty Kuzma compares Otar Iosseliani's movie from 1975 to the folk tale of the Pied Piper of Hamelin, relating it to aspects of cultural criticism in the movie.

Temur Babluani’s The Sun of the Sleepless (Udzinarta mze, 1992)

Vol. 56 (August 2015) by Konstanty Kuzma
Konstanty Kuzma tries to explain the appeal of Temur Babluani’s seamless classic.

Atom Egoyan’s Calendar (1993)

Vol. 56 (August 2015) by Moritz Pfeifer
Moritz Pfeifer critically examines the aspects of identity politics in Atom Egoyan's Calendar, advocating an existential reading of the film's main conflict.
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