Sarajevo 2019

Boris Missirkov and Georgi Bogdanov’s Palace for the People (2019)

Vol. 97 (September 2019) by Lucian Tion
Filmmaking duo Boris Missirkov and Georgi Bogdanov travel Eastern Europe to reflect on the lasting legacy of "people's palaces".

Ksenia Okhapkina’s Immortal (Surematu, 2019)

Vol. 97 (September 2019) by Lucian Tion
This tendentious documentary settles old scores concerning Communism in Russia.

Cătălin Mitulescu’s Heidi (2019)

Vol. 97 (September 2019) by Lucian Tion
Cătălin Mitulescu embraces the style and themes of the Romanian New Wave with this story about the ethics of police conduct.

Radu Dragomir’s Mo (2019)

Vol. 96 (Summer 2019) by Colette de Castro
Radu Dragomir applies the living legacy of the Romanian New Wave to themes of the present.

Corneliu Porumboiu’s The Whistlers (La Gomera, 2019)

Vol. 95 (May 2019) by Anastasia Eleftheriou
Corneliu Porumboiu's latest stint is a critical wake-up call for Europe's rusty film bureaucracy.

Kantemir Balagov’s Beanpole (2019)

Vol. 95 (May 2019) by Anastasia Eleftheriou
In steering clear from depicting graphic violence in a WWII drama, Russian director Kantemir Balagov keeps his promise to his mentor Alexander Sokurov - almost.

Teona Strugar Mitevska’s God Exists, Her Name Is Petrunya (Gospod postoi, imeto i’ e Petrunija, 2019)

Vol. 93 (March 2019) by Zoe Aiano
A woman's spontaneous participation and triumph in an all-male Epiphany event spells trouble.

Paweł Pawlikowski’s Cold War (Zimna wojna, 2018)

Vol. 92 (February 2019) by Daniil Lebedev
The latest Pawlikowski film revolves around the theme of “love as risky business”.