Jana Počtová’s Non-Parent (Nerodič, 2017)

Vol. 83 (March 2018) by Alice Heneghan
Together with her protagonists, Czech documentarian Jana Počtová reflects on parenthood.

Armando Iannucci’s The Death of Stalin (2017)

Vol. 82 (February 2018) by Daniil Lebedev
Daniil Lebedev wonders what are the reasons why public officials in Russia are unable to laugh about this comedy on the times of Soviet terror.

Bernadett Tuza-Ritter’s A Woman Captured (2017)

Vol. 82 (February 2018) by Colette de Castro
This film portrays at once the immense fragility of a woman who has been enslaved for ten years by a Hungarian family, and her startling strength.

Bojina Panayotova’s I See Red People (Je vois rouge, 2018)

Vol. 82 (February 2018) by Zoe Aiano
This highly personal docu-essay revisits Bulgaria's Communist past through a generational conflict.

Jan Gebert’s When the War Comes (Až přijde válka, 2018)

Vol. 82 (February 2018) by Zoe Aiano
Jan Gebert’s film documents the synchronous radicalization and normalization of a Slovak right-wing militia.

Marta Prus’ Over the Limit (2017)

Vol. 81 (January 2018) by Moritz Pfeifer
This film offers a look behind the flashy and effortless facade of gymnastics.

Jan P. Matuszyński’s The Last Family (Ostatnia Rodzina, 2017)

Vol. 81 (January 2018) by Anastasia Eleftheriou
Matuszyński’s debut feature paints unfamiliar fantasies in Poland's years of westernization.

Nimród Antal’s The Whiskey Robber (A Viszkis 2017)

Vol. 81 (January 2018) by Anna Batori
This film about a post-Socialist folk hero is overwhelmed by the miscellaneous facets of its subject matter.

Juraj Lehotský’s Nina (2017)

Vol. 81 (January 2018) by Konstanty Kuzma
This look at teenage angst suffers from a superficial engagement with its narrative underpinnings.

Apolena Rychlíková’s The Limits of Work (Hranice prace, 2017)

Vol. 80 (December 2017) by Zoe Aiano
A director and a journalist explore the domestic periphery of Capitalism in this Czech documentary.
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