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.

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.

A Linguistic Reading of Corneliu Porumboiu’s 12:08 East of Bucharest ( A fost sau n-a fost?, 2006)

Vol. 55 (July 2015) by Moritz Pfeifer
Moritz Pfeifer gives a linguistic reading of Porumboiu's first feature length film of 2006.

Transitioning Between Televisions

Vol. 54 (June 2015) by Rohan Crickmar
Rohan Crickmar examines the Agnieszka Holland's transnational ties with the TV industry.

Harutyun Khachatryan’s Return to the Promised Land (Veradardz avetyats yerkir, 1993)

Vol. 53 (May 2015) by Moritz Pfeifer
Moritz Pfeifer traces back the story of Harutyun Khachatryan's 1991 film to the Old Testament.

An Ode to Harutyun Khachatryan’s Films

Vol. 52 (April 2015) by Godfrey Reggio
American filmmaker Godfrey Reggio pays tribute to Harutyun Khachatryan in a short essay about his colleague's sense of time.

Agnieszka Holland’s Total Eclipse (1995)

Vol. 52 (April 2015) by Paulina Duda
Paulina Duda takes a fresh look at Holland's rendering of the love affair between two famous French poets but bemoans the lack of cinematographic poetry in the movie.

Harutyun Khachatryan’s Return of the Poet (Poeti veradardze, 2005)

Vol. 52 (April 2015) by Moritz Pfeifer
Moritz Pfeifer looks at this deeply nostalgic journey of the statue of the poet Javini traveling back home.

Martin Ťapák’s Pacho, Brigand of Hybe (Pacho, hybský zbojník, 1975)

Vol. 51 (March 2015) by Nicholas Hudáč
Nicholas Hudáč analyzes Martin Ťapák’s 1975 comedy against the background of Czechoslovak tensions in the cultural sphere.
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