Dea Kulumbegashvili’s Beginning (Dasatskisi, 2020)

Vol. 112 (February 2021) by Daniil Lebedev
Dea Kulumbegashvili tells a sad story of biblical dimensions.

Marian Crişan’s The Campain (Berliner, 2020)

Vol. 111 (January 2021) by Antonis Lagarias
Corruption and cynicism dominate Marian Crişan’s trite portrait of political culture.

Jindřich Andrš’s A New Shift (Nová šichta, 2020)

Vol. 111 (January 2021) by Zoe Aiano
What are the hopes for reintegrating manual workers in a post-industrial world?

Linas Mikuta’s Roman’s Childhood (Romano vaikystė, 2020)

Vol. 111 (January 2021) by Zoe Aiano
Linas Mikuta portrays a relatively happy family doing their best in the face of capitalism.

Daria Slyusarenko’s Joy (Dzhoy, 2020)

Vol. 111 (January 2021) by Zoe Aiano
This recent documentary portrays life behind the scenes of a traveling circus.

Siamak Etemadi’s Pari (2020)

Vol. 111 (January 2021) by Antonis Lagarias
A woman loses herself while searching for her son in the streets of Athens.

Radu Ciorniciuc’s Acasa, My Home (2020)

Vol. 111 (January 2021) by Konstanty Kuzma
This documentary dramatizes the eviction of a family from what is to become a natural park.

Boris Yukhananov’s video-novel The Mad Prince (Sumashedshiy Prints, 1986-)

Vol. 109 (November 2020) by Gordei Petrik
In the 1980s, Boris Yukhananov launched a series of VHS films that introduces his concept of "fatal editing".

Igor and Gleb Aleynikov’s Tractor Drivers 2 (Traktoristy 2, 1992)

Vol. 109 (November 2020) by Gordei Petrik
Gordei Petrik returns to one of only two films of Parallel Cinema to be produced at the central Soviet studios.

Maria Yatskova’s Miss Gulag (2007)

Vol. 108 (October 2020) by Antonis Lagarias
Can this film about a Siberian prison for female offenders unveil the unseen?
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