Wojciech Staroń’s Brothers (Bracia, 2015)

Vol. 66 (Summer 2016) by Zoe Aiano
In Wojciech Staroń’s documentary, two brothers who managed to escape from a Soviet work camp, cannot escape each other.

Pol Cruchten’s Voices from Chernobyl (La supplication, 2015)

Vol. 65 (May 2016) by Ivette Löcker
Ivette Löcker reflects on representability and memory in her review of Pol Cruchten's latest documentary Voices from Chernobyl.

Chad Gracia’s The Russian Woodpecker (2015)

Vol. 65 (May 2016) by Jack Page
Jack Page looks at the much-hyped documentary Russian Woodpecker, which juxtaposes the nuclear accident with the turbulent political events happening in Ukraine today.

Short Film Program (Beyond Belonging)

Vol. 64 (April 2016) by Greg de Cuir
Greg de Cuir presents a selection of short films that conceptually address intersubjective questions of “Otherness”.

Elżbieta Benkowska’s, Łukasz Ostalski’s and Michał Wawrzecki’s New World (Nowy Świat, 2015)

Vol. 64 (April 2016) by Julia Zelman
Julia Zelman unveils how the collaborative feature New World challenges discrimination against migrants.

Andrei Kutsila’s Guests (Hosci, 2015)

Vol. 64 (April 2016) by Patricia Bass
Patricia Bass analyzes Andrei Kutsila’s documentary about a Belorussian refuge for the poor.

Nikola Ljuca’s Humidity (Vlažnost, 2016)

Vol. 64 (April 2016) by Konstanty Kuzma
Nikola Ljuca unmasks the hypocrisy of Serbia’s elite in his compelling feature.

Petr Václav’s We Are Never Alone (Nikdy nejsme sami, 2016)

Vol. 63 (March 2016) by Moritz Pfeifer
In his recognizable follow-up to We Are Never Alone, Peter Václav falls victim to his own narrative pitfalls.

Laila Pakalniņa’s The Shoe (Kurpe, 1998)

Vol. 63 (March 2016) by Zoe Aiano
Zoe Aiano joins EEFB with a review of Laila Pakalniņa's elusive debut feature from 1998.

Renars Vimba’s Mellow Mud (Es esmu šeit, 2016)

Vol. 63 (March 2016) by Konstanty Kuzma
Like many coming-of-age-stories, Mellow Mud by first-time director Renārs Vimba struggles with over-identification.
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