Victor Aslyuk’s Wooden People (Drauliany narod, 2012)

Vol. 27 (March 2013) by Julia Zelman
This Belarusian film offers us a vision sprung from a “dreamed-up country” sculpted in wood and painstakingly arranged.

Marta Prus’ Osiemnastka (2012)

Vol. 27 (March 2013) by Maxence Voiseux
We reviewed this coming-of-age story from Poland.

Alexander Abaturov’s Sleeping Souls (Les âmes dormantes, 2013)

Vol. 27 (March 2013) by Anastasia Eleftheriou
Alexander Abaturov follows the 2012 Russian pre-election period in Atchinsk.

Denis Klebleev’s 31st Haul (2012)

Vol. 27 (March 2013) by Anastasia Eleftheriou
Denis Klebleev goes to Kamchatka following two truck drivers delivering goods in this forlorn region of Russia.

Svetlana Baskova’s For Marx… (Za Marksa…, 2012)

Vol. 27 (March 2013) by Konstanty Kuzma
Svetlana Baskova's feature illustrates the activities of leftist labor unions in Russia.

Dan Chisu’s Chasing Rainbows (Si caii sunt verzi pe pereti, 2012)

Vol. 27 (March 2013) by Alina Popescu
Chasing Rainbows is an independent production and Dan Chisu's third feature film.

Sándor Mihályfy’s The Train-Stop Comes Alive (Indul a bakterház, 1980)

Vol. 26 (February 2013) by Moritz Pfeifer
Moritz Pfeifer saw this Hungarian TV comedy from 1980.

Miklós Jancsó’s Wake Up, Mate, Don’t You Sleep (Kelj fel, komám, ne aludjál!, 2002)

Vol. 26 (February 2013) by Konstanty Kuzma
Konstanty Kuzma argues that Miklós Jancsó's problematic film from 2002 points to his artistic arrogance.

Cristian Mungiu’s Beyond the Hills (După dealuri, 2012)

Vol. 26 (February 2013) by Alina Popescu
After our review from Cannes, Alina Popescu takes another look at Mungiu's latest film, focusing on its reception in Romania.

Bobo Jelčić’s A Stranger (Obrana i zaštita, 2013)

Vol. 26 (February 2013) by Colette de Castro
Colette de Castro analyzes the use of time in Bobo Jelčić's film.
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