Anka and Willhelm Sasnal’s Parasite (Huba, 2014)

Vol. 39 (March 2014) by Moritz Pfeifer
Polish artist-couple Anka and Willhelm Sasnal’s new film juxtaposes the life of a retired worker and a fresh mother in unexpectable ways.

Karpo Godina’s Red Boogie (Rdeci boogie ali Kaj ti je deklica, 1982)

Vol. 36 (December 2013) by Vedrana Madžar and Zorka Obrenić
Vedrana Madžar and Zorka Obrenić retrace the ways in which Godina surveys the connections between art and labor.

On Historical Avant-Garde Corrections in Karpo Godina’s film Splav Meduze

Vol. 36 (December 2013) by Sezgin Boynik
Sezgin Boynik examines the Marxist-Leninist Roots of Zenitism, a Yugoslav avantgarde movement of the 1920s.

The Early Works of Karpo Godina

Vol. 36 (December 2013) by Gal Kirn
Gal Kirn situates three shorts by Godina from the early 1970s within the framework of Jacques Rancière’s theory of the “Aesthetics of Politics”.

Kaveh Bahtiari’s L’Escale (Stop-Over, 2013)

Vol. 36 (December 2013) by Anastasia Eleftheriou
This masterly documentary accompanies the lives of clandestine immigrants living in an appartment in Athens.

Family Nest (Családi tüzfészek, 1979) and Macbeth (1982)

Vol. 34 (October 2013) by Moritz Pfeifer
Moritz Pfeifer compares Béla Tarr's Macbeth to his Family Nest.

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

Vol. 33 (September 2013) by Konstanty Kuzma
Konstanty Kuzma argues that Evald Schorm's 1969 film fails to refer to its allegorical target, the Prague Spring.

The Lives of Secret Others

Vol. 32 (August 2013) by Beth Holmgren
Beth Holmgren (Duke University) takes a close look at how recent Eastern European cinema is exhuming the cold-war era secret police.

Biopics on Intellectuals

Vol. 31 (July 2013) by Moritz Pfeifer
Moritz Pfeifer thinks about biopics about intellectuals, focusing on the recent productions Hannah Arendt and The Last Station, which screens at the 2020 Berlinale.

Sergei Loznistsa’s Letter (Pismo, 2013)

Vol. 29 (May 2013) by Moritz Pfeifer
Moritz Pfeifer saw Sergei Loznitsa’s latest film set in a psychiatric institution on the Russian countryside.
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