Micol Roubini’s The Way to the Mountains (La strada per le montagne, 2019)

Vol. 101 (January 2020) by Isabel Jacobs
The author of this recent French-Italian co-production feels unwanted while visiting the village where her grandfather used to live.

Levan Akin’s And Then We Danced (2019)

Vol. 101 (January 2020) by Konstanty Kuzma
Levan Akin's story of forbidden love advocates a form of progressive patriotism.

Peter Kerekes’ BATAstories (Baťa, první globalista, 2018)

Vol. 101 (January 2020) by Konstanty Kuzma
Peter Kerekes' film touches on all the problems of global capitalism without addressing any of them.

Marko Škop’s Let There Be Light (Nech je svetlo, 2019)

Vol. 101 (January 2020) by Konstanty Kuzma
Masculinity hits back in rural Slovakia in Marko Škop’s highly unfunny feature.

Lana Gogoberidze’s Some Interviews on Personal Matters (Ramdenime interviu pirad sakitkhebze, 1978)

Vol. 100 (December 2019) by Antonis Lagarias
A woman journalist interviews women on personal matters, thereby unveiling the patriarchal and oppressive fabric of society.

Sally Potter’s I Am An Ox, I Am A Horse, I Am A Man, I Am A Woman (1987)

Vol. 100 (December 2019) by Antonis Lagarias
In this documentary commissioned by British television, Sally Potter dealt with the role of women in the Soviet film industry.

Nadja Andrasev’s Symbiosis (2019)

Vol. 100 (December 2019) by Melina Tzamtzi
In this short animation, a betrayed woman begins developing curious ways of dealing with her findings.

Gyulai Panni’s Broken Things (2018) & Daria Kashcheeva’s Daughter (Dcera, 2019)

Vol. 100 (December 2019) by Melina Tzamtzi
Two recent animation shorts shown at this year's Primanima festival in Hungary delve into the scars left behind by family traumas.

Morten Tšinakov and Lucija Mrzljak’s A Demonstration of Brilliance in Four Acts (2018)

Vol. 100 (December 2019) by Melina Tzamtzi
This 2D animation reflects on the way that crowds become addicted to following the lives of significant others.

Silva Khnkanosian’s Nothing to Be Afraid Of (2019)

Vol. 100 (December 2019) by Zoe Aiano
Silva Khnkanosian's portrait of a post-war demining process manages to do without contextualization or stylistic gimmickry.
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