Jacek Bromski’s One Way Ticket to the Moon (Bilet na Księżyc, 2013)

Vol. 41 (May 2014) by Konstanty Kuzma
The travels of two brothers are at the center of this film, which also examines the '68 generation in Socialist Poland.

Piotr Trzaskalski’s My Father’s Bike (Mój rower, 2012)

Vol. 41 (May 2014) by Julia Zelman
In this film estranged fathers and sons must learn to accept and express love.

Maciej Pieprzyca’s Life Feels Good (Chce się żyć, 2013)

Vol. 41 (May 2014) by Moritz Pfeifer
Maciej Pieprzyca's new film is based on the true story of a boy suffering from cerebral palsy.

Bodo Kox’s The Girl From the Wardrobe (Dziewczyna z szafy, 2013)

Vol. 41 (May 2014) by Jack Page
Three off-key friends lie at the center of this idiosyncratic production by Polish helmer Bodo Kox.

Didier Guillain and Christiane Schmidt’s The Forest is Like the Mountains (Padurea e ca muntele, vezi?, 2014)

Vol. 41 (May 2014) by Colette de Castro
This visually rich documentary is set around a small Roma village.

Andrei Gruzsniczki’s Quod Erat Demonstrandum (2014)

Vol. 40 (April 2014) by Julia Zelman
Ducu Buciuman, the in some ways central character in Andrei Gruzsniczki's Quod Erat Demonstrandum, never appears onscreen...

Serge Avedikian and Olena Fetisova’s Paradjanov (2013)

Vol. 40 (April 2014) by Konstanty Kuzma
Serge Avedikian and Olena Fetisova accompany Sergei Paradjanov from his early career in Ukraine to the later stages of his life, which he spent in Georgia and Armenia.

Vinko Brešan’s The Priest’s Children (Svećenikova djeca, 2013)

Vol. 40 (April 2014) by Julia Zelman
Vinko Brešan’s film starts as ludic and ends as lugubrious. Fabijan, a young priest, eagerly seeks to find his place in an idyllic Croatian island town...

Malgosha Gago and Boleslaw Sulik’s Les Ombres de Casablanca (2010)

Vol. 40 (April 2014) by Moritz Pfeifer
Polish directors Malgosha Gago and Boleslaw Sulik made a documentary about a Polish spy who worked for British and US intelligence during WWII.

Juraj Lehotský’s Miracle (Zázrak, 2013)

Vol. 40 (April 2014) by Julia Zelman
This filmic panoply of horror reveals Juraj Lehotský's ambition to make cinema a means to plunge into Slovakia’s imagined depths of misery and keep breathing.
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