Rok Biček’s Class Enemy (Razredni sovražnik, 2013)

Vol. 43 (July 2014) by Colette de Castro
Rok Biček’s first feature is a fascinating psychodrama which concentrates on the metaphysics of blame.

Ania Szczepanska’s We Film the People (Nous filmons le peuple, 2012)

Vol. 42 (June 2014) by Colette de Castro
In her documentary, Ania Szczepanska meets the directors of Polish cinema’s golden age.

Nevio Marasovic’s Vis-à-vis (2013)

Vol. 42 (June 2014) by Konstanty Kuzma
A director and his actor travel to an island to work on the script for their next project.

Maya Vitkova’s Viktoria (2013)

Vol. 42 (June 2014) by Konstanty Kuzma
Maya Vitkova’s film revolves around a mother, and her unloved daughter.

Krzysztof Zanussi’s The Structure of Crystals (Struktura kryształu, 1969)

Vol. 42 (June 2014) by Julia Zelman
Julia Zelman saw this Polish classic in the light of the relationship of its two male protagonists.

Krzysztof Zanussi’s Persona non grata (2005)

Vol. 42 (June 2014) by Konstanty Kuzma
Krzysztof Zanussi’s 2005 film revolves around a diplomat who stubbornly holds on to his outdated ethical code.

Krzysztof Zanussi’s Life as a Fatal Sexually Transmitted Disease (Życie jako śmiertelna choroba przenoszona drogą płciową, 2000)

Vol. 42 (June 2014) by Jack Page
Jack Page unveils the national identity of this multinational production, situating it in Zanussi’s body of work.

Wladyslaw Pasikowski’s Aftermath (Pokłosie, 2012)

Vol. 42 (June 2014) by Moritz Pfeifer
Moritz Pfeifer analyzes "memory tales" - stories which revolve around, but do not take place during the Second World War.

Ivan Ostrochovský, Pavol Pekarčík, Peter Kerekes’ Velvet Terrorists (Zamatoví teroristi, 2013)

Vol. 41 (May 2014) by Colette de Castro
This collaborative, experimental film follows the fate of three dissidents who were jailed for committing terrorist acts under Czechoslovak Socialism.

Yusup Razykov’s Shame (Styd, 2013)

Vol. 41 (May 2014) by Moritz Pfeifer
In his new film Shame, Uzbek director Yusup Razykov tackles a tragic accident from the point of view of the wives that survived their husbands.
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