A search for oneself between two worlds: Anna Dziapshipa’s film “Self-Portrait Along the Borderline” at DOK Leipzig
Polina Gundarina reviews "Self-Portrait Along the Borderline," a documentary about borders between states and between personal identities
Witnessing the war-torn reality in Eastern Ukraine: The global premiere of “White Angel — The End of Marinka” at DOK Leipzig
Polina Gundarina reviews the opening film of the 66th DOK Leipzig, which chronicles the experiences of volunteers evacuating people from a city on the frontlines of Eastern Ukraine.
A Scottish premiere of an overlooked gem of classic Armenian cinema: “House on the Volcano” at the Samizdat Eastern European Film Festival
Fin Logie reviews "House on the Volcano," a gem of Soviet Armenian film accompanied in this Glasgow screening by a live score
The warm love of family against the cold ignorance of state authorities: “Safe Place” at the Samizdat Festival of Central and Eastern European Film
Marija Ivanovic reviews "Safe Place," Juraj Lerotić's debut feature film based on his own family's experience with suicide
A micro-portrait of a family grappling with gender identity in Hungary: “Colors of Tobi” at the Samizdat Festival of Central and Eastern European Film
Jakub Crcha reviews "Colors of Tobi," a documentary tackling issues of identity and acceptance in contemporary Hungary
A feminist depiction of Soviet womanhood: “Some Interviews on Personal Matters” at the Samizdat Festival of Central and Eastern European Film
Xandie (Alexandra) Kuenning reviews the Soviet Georgian feminist classic "Some Interviews on Personal Matters"
A joyful depiction of brotherly care: “Bratan” at the Samizdat Festival of Central and Eastern European Film
Lukas Baake reviews the Tajik film "Bratan," an entertaining roadtrip movie that also operates as a worthwhile portrait of brotherly care
“A human being without love has no chance of life”: “King Lear: How We Looked For Love During the War” at the Samizdat Festival of Central and Eastern European Film
Xandie (Alexandra) Kuenning reviews "King Lear: How We Looked For Love During the War," a noteworthy film about love and human resilience
“The people are my nation. If my nation is gone, no more Armenians live”: “Aurora’s Sunrise” at the Samizdat Festival of Central and Eastern European Film
Xandie (Alexandra) Kuenning reviews "Aurora's Sunrise," a partly-animated film delving into a lesser-known figure of the Armenian Genocide
