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.

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.

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.

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.
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