How concrete buildings have been deployed as symbols in Soviet and post-Soviet cinema.
This essay looks at two films that exemplify how the dacha is perceived in post-Soviet Russia.
Lucian Tion examines how the failure of Niki and Flo prefigures the successes of the Romanian New Wave.
This film examines and questions how we can document and remember the atrocities of the Iași pogroms.
Ira Österberg contrasts this early Soviet musical with Hollywood peculiarities of the genre.
Florian Hollerweger places Tarkovsky's scores within the 20th century tradition of musicalizing everyday sounds.
Alexey Izmalkov identifies various compromises in Russian cinema's musical quest for identity.
Pantelis Lykoudis analyzes Eduard Artemyev's compositional approach through the lens of his collaboration with Tarkovsky.
Rachel Stauffer brings out the reconciliatory pretensions of Kryzhovnikov's blockbuster.