Vladimir Loginov’s Anthill (Sipelgapesa, 2015)

Vol. 61 (January 2016) by Moritz Pfeifer
This film finds life inside a run-down Communist housing block.

Otar Iosseliani’s Winter Song (Chant d’hiver, 2015)

Vol. 60 (December 2015) by Moritz Pfeifer
Moritz Pfeifer saw Winter Song, Otar Iosseliani’s attempt to reanimate his trademark comedic style.

Imam Hasanov’s Holy Cow (2015) and Salome Machaidze’s, David Meskhi’s and Tamuna Karumidze’s When the Earth Seems to Be Light (2015)

Vol. 60 (December 2015) by Konstanty Kuzma
Deeply skeptical of tradition, these two Caucasian documentaries look towards Europe for salvation.

Andrzej Żuławski’s Cosmos (2015)

Vol. 60 (December 2015) by Colette de Castro
Andrzej Żuławski’s film is more reminiscent of his son Xawery’s exuberant style than of the Gombrowicz novel it is allegedly based on.

Otar Iosseliani’s April (Aprili, 1962)

Vol. 60 (December 2015) by Julia Zelman
Julia Zelman searches for meaning in Otar Iosseliani’s elusive directorial debut.

Eva Neymann’s Song of Songs (Pesn pesney, 2015)

Vol. 59 (November 2015) by Colette de Castro
This sensual and sensitive drama depicts a Jewish love story in the early 20th century.

Jacek Petrycki’s My Notes from the Underground (Moje zapiski z podziemia, 2011)

Vol. 59 (November 2015) by Moritz Pfeifer
Moritz Pfeifer saw Jacek Petrycki's archival documentary about Polish underground resistance during martial law.

Dalibor Matanić’s The High Sun (Zvizdan, 2015)

Vol. 59 (November 2015) by Moritz Pfeifer
Unlike his postmodern peers, Dalibor Matanić embraces the emotional burden of the Balkan wars in his Cannes-selected feature.

Alexandru Solomon’s The Great Communist Bank Robbery (Marele jaf comunist, 2004)

Vol. 59 (November 2015) by Konstanty Kuzma
Alexandru Solomon's 2004 documentary looks at Communist Romania through the perspective of a famous bank robbery.

Alexander Sokurov’s Francofonia (2015)

Vol. 59 (November 2015) by Moritz Pfeifer
Alexander Sokurov gets tangled up in delusional idealizations of art in his meditation on the Louvre.
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