• Perspectives
  • Retrospectives
  • Interviews
  • Festivals
  • Special Issues
  • ARCHIVE
  • Search
Perspectives
Retrospectives
Interviews
Festivals
Special Issues
ARCHIVE
Search
East European Film Bulletin -
  • Perspectives
  • Retrospectives
  • Interviews
  • Festivals
  • Special Issues
  • ARCHIVE
Review

Tamara Kotevska and Ljubomir Stefanov’s Honeyland (2019)

Vol. 99 (November 2019) by Zoe Aiano
This all-too perfect documentary dwells on the fate of tradition in the modern world.
Review

Alex Brendea’s Teach (Profu’, 2019)

Vol. 99 (November 2019) by Zoe Aiano
Alex Brendea reverses the dynamics of the classic one-man versus the broken system narrative.
Review

Johana Ožvold’s The Sound is Innocent (2019)

Vol. 99 (November 2019) by Zoe Aiano
This creative documentary tests genre conventions only to lose its way.
Review

Natasha Merkulova and Aleksey Chupov’s The Man Who Surprised Everyone (Tchelovek Kotorij Udivil Vseh, 2018)

Vol. 98 (October 2019) by Anastasia Eleftheriou
In their second feature, Natasha Merkulova and Aleksey Chupov approach issues surrounding gender politics and sexual norms through a local folk-tale.
Review

Juris Kursietis’ Oleg (Oļeg, 2019)

Vol. 97 (September 2019) by Anastasia Eleftheriou
Is our culture of awareness conducive to our forgetting where the problems lie?
Review

Maria Saakyan’s Entropy (Entropiya, 2012)

Vol. 97 (September 2019) by Vadim Dumesh
In 2012, Maria Saakyan made a 180°-turn by leaving behind arthouse aesthetics in her popculture-induced and highly referential vision of apocalypse.
Review

Maria Saakyan’s I’m Going to Change My Name (Alaverdi, 2013)

Vol. 97 (September 2019) by Antonis Lagarias
Maria Saakyan zeroes in on conveying a sense of subjectivity in her playful coming-of-age story.
Review

Maria Saakyan’s The Lighthouse (Mayak, 2006)

Vol. 97 (September 2019) by Melina Tzamtzi
Melina Tzamtzi revisits the dreamlike poetry of Maria Saakyan's debut feature.
Review

Boris Missirkov and Georgi Bogdanov’s Palace for the People (2019)

Vol. 97 (September 2019) by Lucian Tion
Filmmaking duo Boris Missirkov and Georgi Bogdanov travel Eastern Europe to reflect on the lasting legacy of "people's palaces".
Review

Ksenia Okhapkina’s Immortal (Surematu, 2019)

Vol. 97 (September 2019) by Lucian Tion
This tendentious documentary settles old scores concerning Communism in Russia.
Page 22 of 71« First...1020«21222324»304050...Last »


The East European Film Bulletin is a journalistic and literary project dedicated to the criticism of films related to Central, Eastern and South-Eastern Europe.

ISSN 1775-3635

Pages

  • ABOUT
  • TEAM
  • CONTACT US
  • CONTRIBUTE
  • NEWSLETTER
  • Support Us

© 2025 - EEFB - CONTACT - PRIVACY POLICY

This website uses cookies to improve your experience. We'll assume you're ok with this, but you can opt-out if you wish. Cookie settingsACCEPT
Privacy & Cookies Policy

Privacy Overview

This website uses cookies to improve your experience while you navigate through the website. Out of these cookies, the cookies that are categorized as necessary are stored on your browser as they are as essential for the working of basic functionalities of the website. We also use third-party cookies that help us analyze and understand how you use this website. These cookies will be stored in your browser only with your consent. You also have the option to opt-out of these cookies. But opting out of some of these cookies may have an effect on your browsing experience.
Necessary
Always Enabled
Necessary cookies are absolutely essential for the website to function properly. This category only includes cookies that ensures basic functionalities and security features of the website. These cookies do not store any personal information.
SAVE & ACCEPT