Jan Gebert’s The Candidates (Kandidátky, 2022)

Vol. 124 (April 2022) by Alice Heneghan
Jan Gebert follows two young female politicians from opposite political camps.

Michael Borodin’s Convenience Store (Produkty 24, 2022)

Vol. 124 (April 2022) by Antonis Lagarias
A story of false promises in modern-day Russia.

Haidy Kancler’s Melting Dreams (2022)

Vol. 123 (March 2022) by Ana Grgić and Antonis Lagarias
This documentary stumbles over its own expectations in telling the story of three Afghani girls training for the Olympics.

Yulia Trofimova’s The Land of Sasha (Strana Sascha, 2022)

Vol. 123 (March 2022) by Zoe Aiano
A teenager navigates the expectations and opportunities brought forth by his environment.

Laila Pakalniņa’s Homes (Mājas, 2021)

Vol. 123 (March 2022) by Ana Grgić and Antonis Lagarias
Laila Pakalniņa visibly involves her documentary subjects in the making of her latest film.

Davor Konjikušić and Nika Petković’s Uvala (2021)

Vol. 122 (February 2022) by Anna Doyle
This experimental short is an engagement with contemporary perversions of remembrance.

Alexis Pazoumian’s Nagorno Karabagh: Two Children in the War (2020), Louise Martin Papasian’s Drafted (Appelé, 2021) & Raffi Movsisyan’s Homecoming (2020)

Vol. 122 (February 2022) by Melina Tzamtzi
Melina Tzamtzi reviewed three Armenian shorts that address male vulnerability.

George Săbău’s Fragmentarium (1985-1990)

Vol. 122 (February 2022) by Zoe Aiano
Zoe Aiano revisits this experimental short from 1980s Romania.

Lyubov Arkus’ What Beat You Nothing (Kto tebya pobedil nikto, 2021)

Vol. 122 (February 2022) by Jack Page
A love letter to iconic actress Alla Demidova.

Tamara Dondurey’s Stand By Me (Ryadom, 2022)

Vol. 122 (February 2022) by Jack Page
A young woman spirals into depression after a tragic loss.
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