Days of Independence

Khibula, dir. George Ovashvili│ Transitions from one political system into another are never easy. Especially if a country is just gaining its independence. Until ideological theory turns into political practice, one can never know how the former dissidents will behave as statesmen and how the opposition, as well as the general public, will react to… Read more »

Journey with an end

Untilted, dir. Michael Glawogger, Monika Willi│Untitled was meant to be an experimental journey for the Austrian director Michael Glawogger.


A Ghost Story, dir. David Lowery│ Who is going to turn up at our funeral? What are they going to remember? What are we leaving behind when we die? Questions everybody has asked themselves before, I assume. But who are we to claim significance over the 100 billion other people that have lived on this… Read more »

East meets West

Western, dir. Valeska Grisebach│Germany has not just lingered at the intersection of the East and West, it has properly experienced being both. Dealing with the past like that is something that the Germans have obsessed ever since, and it has shaped our cinematic landscape like nothing else, resulting in endless stream of films about the… Read more »

Dear deer

On Body and Soul, Dir. Ildikó Enyedi│Ildikó Enyedi’s On Body and Soul’s almost pensive dramatic explorations of the relationships between the bodily and the ethereal begin in a particularly unusual and captivating manner. Instead of being greeted to human characters, we are met by two deer, caught in a kind of intimate tranquillity in a… Read more »

How I fell in love

Ana, mon amour, dir. Călin Peter Netzer│ Having already fallen in love with Ana, mon amour at Berlinale this year, I was saddened to find that it was beginning to experience a bit of backlash in its native country by the time it reached The Romanian Days section of the 16th Transilvanian Film Festival. Some… Read more »

It could only happen to a teenager

Heartstone, dir. Guðmundur Arnar Guðmundsson│Ever since Grímur Hákonarson won Un Certain Regard with Rams back in 2015 and Baltasar Kormákur’s Everest opened Venice a few month later, the latest crop of Icelandic directors seem to have been unmistakably on a high. It’s almost with some trepidation that we now begin to wonder whether this close-knit,… Read more »

Wuthering Heights

God’s Own Country, dir. Francis Lee│The title of Francis Lee’s God’s Own Country refers to a phrase of endearment used by people in Yorkshire to describe their own deeply idiosyncratic part of the world – something the director slowly dissects at length. Himself a Yorkshireman, Lee has taken the support of Creative England’s low-budget first… Read more »

Big Girls Don’t Cry

The Beguiled, dir. Sofia Coppola│With The Beguiled, Sofia Coppola chose a story well suited to her interest in female desire and the insensitivity of men. When a little girl finds Irish Corporal John McBurney (Colin Farrell) in dire straits in some luxurious South Virginia woods and takes him to her half-empty all-female seminary, the wounded… Read more »

Just kidding

Redoubtable, dir. Michel Hazanavicius│That the great French New Wave director Jean-Luc Godard hasn’t always been a very kind man isn’t news to anyone. His rebelliousness is in fact the very reason why he was such an important and controversial figure at a time when French –and European- cinema was in a state of limbo in… Read more »

  • Nigdy nie skoczyłabym pod pociąg

    Rocks in my Pocket, reż. Signe Baumane │Dla Signe Baumane debiutancki film stał się zupełnie niechcący formą terapii i oswajania rodzinnych demonów. Pracując nad „Rocks in my Pocket” zrozumiała jak ważna i trudna jest sama chęć konfrontowania się z własną przeszłością i jak wielką sztuką jest umieć do niej podejść z humorem. Zanim jej film… Read more »

  • Pęknięcie w połowie

    Eden, reż. Mia Hansen-Løve│„Eden” mógłby stać się przenikliwą kontynuacją „Father of my Children” – filmem o chłopaku wychowanym bez ojca, chowającym się w świecie własnej pasji przed pustką rodzinnego domu. Jednak u Mii Hansen-Løve ta pasja odgrywa dwuznaczną rolę. Jest zarówno miłością głównego bohatera, jak i jego największym przekleństwem.