Comes Chahbazian’s Here, Elsewhere (2026)
It’s always embarrassing to ask the first stupid question. After a screening of Here, Elsewhere at this year’s Golden Apricot Film Festival in Yerevan, mine was the following: “To what extent is your...
View ArticleTamara Stepanyan’s In the Land of Arto (Le Pays d’Arto, 2025)
This year’s Golden Apricot Film Festival opened with Tamara Stepanyan’s In The Land of Arto. A maker of solid documentary films (Village of Women; Embers), Stepanyan is one of Armenia’s most promising...
View ArticleLászló Nemes’ Moulin (2026)
Closer to the mainstream than he would ever admit, László Nemes recounts the final years of French Resistance leader Jean Moulin in a ‘French’ film that falls into all the clichés the director of Son...
View ArticleAndrey Zvyagintsev’s Minotaur (2026)
Not so much because of its title, Zvyagintsev’s return to Cannes took on a mythological dimension. Following a severe post-COVID coma that led many to assume the end of his filmmaking career, the...
View ArticleJakub Kučera’s Because I Have To (Podoby milostného vztahu ke světu, 2026)
Rather than documenting the life and work of Czech conceptual artist Miloš Šejn, Jakub Kučera’s Because I Have To attempts to embody Šejn’s artistic worldview through a series of performative...
View ArticleEmi Buchwald’s No Ghosts on Good Street (Nie ma duchów w mieszkaniu na...
Four siblings arrive at a pivotal moment in their lives as they border adulthood, navigating their own sense of independence alongside their familial needs for one another. But as they seek to carve...
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Cristian Mungiu’s Fjord (2026)
Cristian Mungiu’s Fjord arrived at the Cannes Film Festival carrying the weight of expectation. Already having won the Palme d’Or with 4 Months, 3 Weeks and 2 Days and emerging as one of the central...
View ArticleDmytro Sukholytkyy-Sobchuk’s Silent Flood (Tykha povin, 2025)
How should a pacifist react to war? The documentary film Silent Flood by Dmytro Sukholytkyy-Sobchuk, his second feature-length film after Pamfir, which had screened in Cannes in 2022, explores this...
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Ivan Salatić’s Wondrous Is the Silence of My Master (Otapanje vladara, 2025)
Instead of a Prologue Ivan Salatić’s sophomore feature, which premiered in Rotterdam’s Tiger Competition in February 2025, is first and foremost a film that embodies a refined and restless form of...
View ArticleAndrius Blaževičius’ How to Divorce During the War (Skyrybos karo metu, 2026)
How To Divorce During The War opens with a static establishing shot of the Lithuanian capital, Vilnius. The city’s unmistakable gothic architecture is enveloped in a cold, misty dawn. The pointed...
View ArticleKatarína Gramatová’s Promise, I’ll Be Fine (Hore je nebo, v doline som ja, 2024)
Originally an editor, Katarína Gramatová fully embraces directing in her feature-length fiction debut Promise, I’ll Be Fine. The Slovak filmmaker had directed the student short film Cherries (2019)...
View ArticleVicky Jewson’s Pretty Lethal (2026)
As a devoted admirer of B-horror and exploitation cinema, I usually have a high tolerance – even affection – for films assembled out of awkward editing, uneven performances, narrative absurdity, and...
View ArticlePaul Negoescu’s Atlas of the Universe (Atlasul universului, 2026)
Summer’s almost over, school is about to start and ten-year-old Filip (Matei Donciu) has ruined his only pair of shoes by obsessively playing football. His mother sends him off from their rural home...
View ArticleRaitis and Lauris Ābele’s Dog of God (Dieva suns, 2025)
Set in a rain-soaked 17th-century Swedish Livonian village, Dog of God delivers a bold, transgressive animation on belief in which folklore, religion, and raw bodily excess collide. Inspired by the...
View ArticleStefan Djordjevic’s Wind, Talk to Me (Vetre, pričaj sa mnom, 2025)
Actor-turned-director Stefan Djordjevic makes his feature debut with an understated, frequently mesmerizing, and surprisingly playful film. A self-reflexive exploration of the death of his mother and...
View ArticleTereza Nvotová’s Father (Otec, 2025)
Based on true events and comprised of just nine long takes, Father is a grueling and fiercely harrowing depiction of a once happily married couple who has the unthinkable happen to their child. Their...
View ArticleIvan Boiko’s The Wind Blows Wherever It Wants (2025)
In The Wind Blows Wherever It Wants, Ivan Boiko follows Tushetian shepherds as they guide their flocks across Georgia, from the snow-covered peaks of the Caucasus to the arid steppes of Vashlovani and...
View ArticleCsaba Káel’s Hungarian Wedding (Magyar menyegző, 2025)
Financed with Hungarian state support and set in Transylvania, Hungarian Wedding belongs less to the category of fictional cinema centered on the story of a romantic couple than to that of a...
View ArticleKristina Mikhailova’s River Dreams (2026)
What if a girl were a river, or what if a river were a girl? Undertaking a journey throughout the landscapes of Kazakhstan, in her debut feature documentary River Dreams Kristina Mikhailova enters...
View ArticleGábor Holtai’s Feels Like Home (Én itt érzem magam otthon, 2026)
For years, Hungarian film culture has been haunted by a bitter and recurring question: how can quality independent cinema still emerge within the autocratic framework of the Viktor Orbán regime? How...
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