Reacties

DVD op het NLse label Contactfilm (CFDVD1209). Ook op het Britse label Newwavefilms. ★★★★

“GRIPPING and DISTURBING... ELENA is only the third feature film from this 48-year-old director, after THE RETURN...in many ways his most intimate, and the film with the most contemporary and realist character. The subtlety and stealth of this movie is a marvel...It is superbly shot and directed; it does not offer a thriller-type ending - the narrative is resolved in a disquieting minor key. A deeply satisfying film.”

Peter Bradshaw, THE GUARDIAN

★★★★ “There is a beautifully realised subtlety in Andrei Zvagintsev's gripping drama.... Nadezhda Markina’s captivating performance in the title role…”

Marc Lee, DAILY TELEGRAPH

★★★★ “Andrey Zvagintsev’s multi-awarded film which follows the superb THE RETURN...paints an eloquent picture of Russian life...But the quiet truthful performance of Nedezhda Markina...enables us to believe in it…One of the very best Russian films of the past year.

Derek Malcolm, THE EVENING STANDARD

★★★★ “A morality tale that gradually assumes the weight of a Dostoevsky novel…it draws you into these complex, contradictory lives…Powerfully addressing issues of class conflict and moral decay in modern Russia”

Allan Hunter, THE DAILY EXPRESS

“A gripping resonant tale…Nadezhda Markina is outstanding as Elena and far more sympathetic than perhaps she should be”
Philip French, THE OBSERVER

★★★★ “This third film by the director of THE RETURN - his most stylish and his most accessible – is also utterly compelling”

Laurence Phelan, INDEPENDENT RADAR

★★★★ “Zvyagintsev’s subtly chilling film”

Olivia Marks, THE SUNDAY TIMES

★★★★ “A sparse and elegant piece of work…searingly eloquent scenes…this is accomplished filmmaking, bold in every way.”

Wendy Ide, THE TIMES

★★★★ “ A Russian exercise in lull and ambush, a tale about priority and loyalty…which is constantly enlivened by a Philip Glass score”

Leo Robson, THE FINANCIAL TIMES

★★★★ “Zvyagintsev, who also made the magnificent THE RETURN, is proving himself a major talent.”

Anthony Quinn, THE INDEPENDENT

★★★★ “Russia’s Andrei Zvyagintsev has emerged as one of Europe’s finest directors… This is a quietly powerful, brilliant film, and ice burns in its heart.”

Jason Solomons, THE MAIL ON SUNDAY

★★★★ “ The corrupting power of money runs through the veins of this superb Russian film…This is smart, gripping cinema.”

Dave Calhoun, TIME OUT

Critics’ Choice:

“This powerful drama about a grandmother married to a wealthy husband acts as a striking allegory of the new Russia”

Dave Calhoun, TIME OUT

“Terrific…Tense, edge-of-the-seat stuff.”
Peter Bradshaw (Jury), Cannes Film Festival, Un Certain Regard

★★★★★

“A sensational Russian drama... a film to crow about loudly...Elena has the taut dramatic structure of a Dostoyevsky parable, matched with mesmerising long-take technique, a hushed, disquieting soundscape, and images that jangle in your head for days.”

Tim Robey, The Daily Telegraph

'CRITICS’ PICK. Brilliant and gripping.'

• Stephen Holden, THE NEW YORK TIMES

'Spellbinding and impeccably crafted.... Performances are superb across the board, framed in elegant widescreen compositions that simmer with violence.'

• Sheri Linden, LOS ANGELES TIMES

'PICK OF THE WEEK! Mesmerizing! A mysterious existential thriller that’s brilliantly acted and masterfully directed, without a second of wasted screen time.'

• Andrew O’Hehir, SALON

'Grounded in classic elements of film noir but lensed with a stillness that becomes paradoxically nerve-rattling...a thriller about the shifting moral calculus in a world where money changes everything.'

• Steve Dollar, THE WALL STREET JOURNAL

'Stunning...An outstanding Russian drama of fractured families, money and quiet desperation.'

• Neil Young, THE HOLLYWOOD REPORTER

'A wise and impeccably controlled drama that finds Russian helmer Andrei Zvyagintsev in outstanding form.... Zvyagintsev spins a taut, engrossing yarn about a coveted inheritance, cruel class differences and quietly monstrous misdeeds.'

• Justin Chang, VARIETY

'As much thriller as character study, “Elena” is compelling not only for the situation it maps but the social milieu that it depicts.'

J. Hoberman, ART INFO

'An intensely compelling slice of noir about moral rot and class warfare in post-Soviet Russia....A bone-deep existential unease and spiritual alienation, a preoccupation with sin that is at once quintessentially Russian and wholly archaic..... [Zvyagintsev’s] vision of eternal human frailty is inescapably tragic and religious — and brutally unforgiving.'

• Ella Taylor, NPR Radio

'Devastating! I can't recommend it highly enough...a distressingly universal tale of haves and have-nots, not to mention an apt reminder that morality and ethics can be slippery propositions when other interests drive us.'

• Tim Greirson, IFC.COM

'Impeccably composed, stark visuals lending a near-apocalyptic mood that permeates every frame. Andrey Zvyagintsev taps into the rich tradition of film noir, as well as the influence and cultural echoes of such diverse Russian forebears as Dostoevsky, Chekhov and Tarkovsky.'

• Christopher Bourne, TWITCH

'Extraordinary... Grounded by Markina’s magnificent performance...brilliantly shot by Zvyagintsev regular Krichman, and its chill heightened by hyper, excited bursts from Glass’s score.'

• Howard Feinstein, SCREEN DAILY

DVD op het Britse label Newwavefilms, samen met Blockade en Revue. About LANDSCAPE
‘The camera pans slowly across the 'landscape' of faces while, on a separate recording for the soundtrack, we hear people – young and old – talking about their woes and worries and will to survive by living each day as it comes. Finally, the bus arrives – an hour late – exactly the amount of time Loznitsa required to shoot this remarkable candid-camera documentation’.

Ron Holloway, Kinema

‘Less is more for Landscape, an austere but absorbing formalist exercise consisting entirely of left-to-right tracking shots depicting people waiting for a bus in the Russian town of Okulovka. Well-regarded Russian docu-helmer Sergei Loznitsa's ('Portrait') experimental approach may seem reminiscent of '60s avant-garde darling Michael Snow ('Wavelength'), although it's closer to the stripped-down style of contempo Ruskie doc-makers… ‘

Variety

DVD op het Britse label Newwavefilms, samen met Blockade en Landscape. About REVUE

“Director Sergei Loznitsa says more about Soviet art and politics than any talking head or narrated documentary ever could.”
Eric Monder, Hollywood Reporter

‘Revue melds disparate images of Soviet life during the 1950s and '60s into a luminous time capsule of patriotic fervor and political fealty.’
Jeanette Catsoulis, The New York Times

"A new perspective on Soviet life. ...REVUE offers a geographically and chronologically broader perspective on the post-Stalinist Soviet Union. ...It offers unprecedented coverage of the propaganda of the period, whose strong continuities with Stalin-era public culture appear especially interesting in light of the recent scholarship's critique of the thaw paradigm. ...The film is a valuable primary source for teachers to use..."—Polly Jones, University College, University of Oxford, Slavic Review, Spring 2012

“Loznitsa combines a knack for finding sociological meaning in throwaway moments with a less-is-more aesthetic... By juxtaposing labor-filled activities with TV shows and plays proclaiming the ‘bounties’ of revolution, the film offers glimpses of a government-sanctioned alt universe.” —Time Out New York

“Fascinating... a well-edited documentary that’s equally informative and entertaining.” —Avi Offer, The NYC Movie Guru

"Loznitsa's narration-free compilation of documentary scenes from the Soviet way of life is a must for anyone interested in glimpsing the disappeared Soviet experience. An unorthodox iconography of society, culture and politics in the old U.S.S.R."—Louis Menashe, Polytechnic Institute of New York University

DVD op het Britse label Newwavefilms, samen met Revue en Landscape. About BLOCKADE

“Blockade doesn't barrage you with battle scenes; instead, we get eerie moments of calm as people walk down snowy streets littered with corpses and tanks roll off into the distance.” —David Fear, Time Out New York

“What narrative there is, along with a sense of incrementally mounting horror, emerges unbidden from the images-teeming streets that gradually thin, bundled proles panning for filthy water in potholes, stick-thin pedestrians stepping matter-of-factly past.”—Jim Ridley, Village Voice

"A starkly unsanitized and riveting montage of the nearly 900-day blockade... a powerful portrayal... ideal for college classroom use."—Richard Bidlack, Slavic Review

"Different and imaginative... One of the most important Russian movies of the last decade... THE BLOCKADE is an important film that belongs in every university library."—Denise Youngblood, The Russian Review

"Recommended! Very well done... A valuable contribution to those studying the impact of war."—Educational Media Reviews Online

"Absorbing... poignant viewing!"—Variety

"An often gruesome but prosaically candid mosaic of life during the siege...a useful and revealing effort."—Slavic Military Studies Journal

"Stark...harrowing...These pieced-together black-and-white sequences chronicle the deterioration of an austere, stately city into a snowbound graveyard of scarred buildings and numbed survivors."— Stephen Holden, The New York Times

"Fascinating and disturbing... a big-screen treasure for war and history buffs."—Film Journal International

"The sheer magnitude of the largely unknown images alone makes this a worthwhile documentary for anyone interested in the Siege of Leningrad or World War II, but it is the poignancy of certain images that gives this documentary its particular value."—Military History

"Riveting... a technical marvel... in making BLOCKADE, Loznitsa cut, edited, and added a soundtrack to archival footage to open history to new interpretive possibilities and deeper comprehension." -Tony Osborne, Film & History

DVD op het Britse label Newwavefilms. ★★★★

"This exquisitely shot film of Polish Roma poet Bronislawa Wajs, nicknamed Papusza...The filmakers have gone to exhaustive length to recreate the lost word of the Roma people. It is very beautiful to look at...

In its attention to landscape, its extraordinary detailed mise en scene and its surrealist flights, the film has the feel of an old Tarkovsky movie."

Geoffrey Macnab, THE i NEWSPAPER

★★★★

"Papusza is an exquisitely crafted biography with lush black-and-white photography and a superb performance from Jowita Budnik.

A sombre but impressive production."

Allan Hunter, THE DAILY EXPRESS

"Papusza' offers a glimpse into the world of Bronislawa Wajs (Jowita Budnik), known as Papusza, the first Roma poet. Framed within a series of stunning monochrome portraits it reveals the Roma world, fiercely independent, secretive and isolated with an inbred distrust of gadjo (strangers, non-Roma), that was no place for a self-educated woman with a love of the written word. A disappearing world skilfully captured by cinematographer Krzysztof Ptak."
Clive Botting, HUFFINGTON POST

“Striking portrait of a Polish- Roma poet...this selection of moments from the life of Bronislawa Wajs is gorgeous to behold.
The black and white cinematography is gorgeous. Strikingly beautiful…"
Wendy Ide, THE GUARDIAN

"Shot in stunning black and white, this is an enthralling drama...
Its stark cinematography fives a fascinating insight into the Roma way of life...But, above all Papusza is about an inspirational woman who was ahead of her times."
MORNING STAR
‘Spanning most of the 20th century, this slow but ravishingly beautiful biopic commemorates the life and works of Bronislawa Wajs, the first publicly feted female poet from Poland’s traveling gypsy minority...a ravishing visual poem...Shot in exquisite monochrome by Krzysztof Ptak and Wojciech Staron, every frame is a painterly masterclass in light and shadow….'

Stephen Dalton, The Hollywood Reporter

‘Some of the most spectacular black and white camera work in recent years’.

Dan Fainaru, Screen International

'The film escapes excessive stylization; one won’t find a trace of forced artiness in it. Its greatest advantage – just like in the case of Papusza’s poems – turns out to be its painstaking coarseness, the inconspicuousness, behind which veiled are the notable questions that escape the story of the poet herself, and which direct our attention to the essence of otherness in general – and to the essence of art. (…) Papusza’s tone is far from patronizing, the film challenges stereotypes and prejudices, but it also shows that we can only come closer to the 'other', Roma, side, to a certain extent'.
Paweł Feli, Gazeta Wyborcza

'The lively culture of the Roma and their closeness to nature are shown in impressive landscape scenes, as in shots of the caravans on the move through bucolic countrysides or when the band sets up a camp and market outside a traditional church.'
Kristin Thompson and David Bordwell, Observations on Film Art

DVD op het Britse label Newwavefilms. 'One of the films of the year has arrived – maybe the best of the year – a work of unmatched subtlety, complexity and artistry...

Valeska Grisebach’s striking drama constantly subverts genre expectations. Grisebach has not, in fact, made many movies, but on the strength of this one, she deserves to be considered a major film-maker.'

Peter Bradshaw, The Guardian

★★★★★

'Grisebach has an observational grasp of the male psyche – especially its pathological obsession with pride – that fairly takes the breath away.

'...(a) mesmerising psychological drama.'

Tim Robey, The Daily Telegraph

★★★★★

'Boasts a vibrant realism and humanism that translate into a delicate miracle.'

Manuela Lazic, Little White Lies

★★★★
'As lean as its leading character, Western beguiles with its sharp intelligence and understated emotions.'

Allan Hunter, The List

★★★★

'Compellingly drawn story'

Trevor Johnston, Time Out

★★★★ The Daily Express

★★★★ Radio Times

'Valeska Grisebach's stunning existential study of masculinity tips its hat to classic genre cinema even as it casts an extraordinary troupe of non-professional actors as its grizzled migrant construction workers in a foreign land.'

Giovanni Marchini Camia, Sight & Sound

'Just because a film features horses, guns and the great outdoors doesn't mean that it's a Western; just because it's set in Bulgaria doesn't mean that it's not one. Western, the third feature by German director Valeska Grisebach (Be My Star, Longing) deals with certain classic oater tropes - notably, the figure of the strong, silent loner hero - in the context of cultural and economic relations in contemporary Europe.'

Jonathan Romney, Screen International

'This brilliantly observed mood piece about a German road crew arriving in rural Bulgaria centres on one lone quietly watchful man doing his best to assimilate.'

Nick James, Sight & Sound

'One of the best films to premiere last year, Western is probably also the best film since Claire Denis' Beau Travail to be made by a woman about men.'

Jonathan Romney, Film Comment

'About the interactions of a motley group of German construction workers, both with each other and with the inhabitants of a remote Bulgarian village where they�re working for the summer, the film is an utterly credible, brilliantly insightful study of a certain kind of masculinity.'

Geoff Andrew, BFI online

'For those with a sudden interest in new German cinema thanks to last years Toni Erdmann, the Cannes Film Festival has again selected another powerful, deeply human and intricately political drama in Valeska Grisebach's terrific Western.'

Daniel Kasman Mubi Notebook

'The closest this festival came to a major work - Western shares the slow-building intensity of Grisebach's shattering previous feature Longing (2006).'

Dennis Lim, Film Comment

Gezien op Leids IFF. Ook op DVD op het Britse label Newwavefilms. ★★★★★

A terrific film…as the stunning closing time-lapse image reminds us, a picture of solitude, of life as it is really lived at the end of the world.”

Jonathan Romney THE INDEPENDENT ON SUNDAY

FILM OF THE WEEK

Cast adrift to live life on the edge…An award-winning tale of two meteorologists isolated on a remote Arctic island is a tense allegory of modern Russia”

Philip French THE OBSERVER

★★★★

“Winner of the Berlin film festival Silver Bear, beautifully shot…superbly acted two-man drama…a gripping, involving and wonderfully acted piece of work”

Peter Bradshaw THE GUARDIAN

★★★★

A masterpiece of slow-building tension.

Jenny McCartney THE SUNDAY TELEGRAPH

★★★★

“Slow-burning, visually stunning…Superbly acted and photographed, this is pure cinema”

Wendy Ide THE TIMES

★★★★

A Tarkovskian parable about nuclear horror which also functions as a sustained, nail-biting psychological thriller…about trust, fraying communications, wilderness survival tactics.

Deceit and paranoia escalate…a hungry polar bear and contaminated trout up the stakes…a surrogate father-son relationship that’s just gone haywire”

Tim Robey THE DAILY TELEGRAPH

★★★★

“Part psychological thriller, part a paean to the beauty and remoteness of its setting…shot by cinematographer Pavel Kostamarov with rare and atmospheric skill…The director is an exceptional filmmaker”

Derek Malcolm THE EVENING STANDARD

★★★★

This terrific film...

Antonia Quirke THE FINANCIAL TIMES

★★★★

“Remarkable drama...Memorable”

‘Rich in resonance, the story can be read partly as a brutal coming-of-age story, with the two men as a surrogate father-son duo; as a quasi-religious ordeal in which Danilov must go through earthly hell to redeem himself...but the film also works as a nail-biting yarn, a tale of extraordinary endurance.’

Jonathan Romney, SCREEN INTERNATIONAL

‘... a terrific exploration of human fragility....Popogrebsky is shaping up into one of Russia's most talented, distinctive and potentially exportable directors’

Leslie Felperin, VARIETY

“An extraordinary evocation … inside the Arctic Circle…the cinematography is striking”

“A gripping psychological drama.”

Derek Malcolm, THE EVENING STANDARD

“Part vice-like psycho-thriller, part action-adventure, part gorgeous-looking art film”

Sheila Johnston,THE TELEGRAPH

‘An elemental cat-and-mouse psychodrama set in the frozen north, by one of Russia’s brightest new talents’
Ian Christie, SIGHT & SOUND

‘A gripping narrative’

‘The only film at this year’s Berlin Film Festival that came anywhere near mattering as an adventure in cinema and in the concrete world.’

‘A magnificent adventure in outward-bound filmmaking in the Flaherty/Herzog tradition of Actualy Going There.’

SIGHT & SOUND

“A taut psychological drama set against a striking polar landscape”.

‘ Subtle, compelling performances…striking cinematography and well-chosen music. ‘

‘Highly original, and with a unique atmosphere and sense of place, this is a memorable and deeply affecting work.’

‘A taut psychological drama made all the more gripping by the isolation and desolation of its setting.

Sandra Hebron, LFF2010

“Beautifully shot on an isolated Russian arctic island”

Carmen Gray, DAZED & CONFUSED

Read Interview with Alexei Popogrebsky in DAZED AND CONFUSED

“An excellent work…hypnotic…magic”
Howard Feinstein, FILMMAKER MAGAZINE

Gezien op DVD op het NLse label Contactfilm (CF1409).

Winnaar Zilveren Beer IFF Berlijn. Gezien op DVD op het NLse label A-film (DS93253).

Aka ‘The attached balloon’. Film over de absurditeit van de gedachte alleen al om met een grote ballon te kunnen ontsnappen aan het Stalinistische regime naar een nieuw land. Gezien op IFFR.

Tweede speelfilm van dit regisseur-duo. Zelfde actrice als in ‘The Lesson’. De titel van de film is de naam van het Russische horlogemerk Slava (glorie). ★★★★

'Kristina Grozeva and Petar Valchanov's astutely human drama may well be the best new film in cinemas this week...a witty, beautifully acted fable.'

Guy Lodge, The Standard

'This mordant satire feels as if it could be an update of a Tolstoy story.'

Steve Rose, Guardian Guide, 5 Best Films

★★★★

'Compelling drama'

Leslie Felperin The Guardian

★★★★

'Gripping political drama.'

Allan Hunter, The Express

'Sharply executed, superbly performed'

Jordan Mintzner, Hollywood Reporter

'Kristina Grozeva and Petar Valchanov’s witty and ingeniously crafted follow-up to The Lesson (2014) is a snapshot of a contemporary Bulgaria plagued by injustice and corruption.'

Yonca Talu, Film Comment

'A hard-edged PR woman happy to hide government corruption indifferently destroys an honest worker’s dignity in this worthy follow-up to the directors’ award-winning 'The Lesson.'
Jay Weissberg, Variety

'Another stiletto-sharp report on the state of modern Bulgaria from the directors of the equally tense and insightful The Lesson.'

Allan Hunter, Screen International

'This incisive, funny cinematic parable, shot and edited in a disarming, documentarylike style.'

Glenn Kenny, The New York Times

★★★★

‘It feels incongruous to claim that Glory is a funny, what with its focus on institutional corruption and the constant threat of violence in a society unaccustomed to the competitiveness of a market economy, but it is, with Tzanko's predicament approached with an unlikely sense of humour.’

Patrick Gamble, Cinevue

'Frank Capra meets the Dardenne Brothers. Absorbing. Stirring. Like Tilda Swinton’s fierce lawyer in MICHAEL CLAYTON, Julia’s a complex figure trapped by immoral responsibilities, and [Margita] Gosheva’s performance brilliantly conveys that divided state.' Eric Kohn, Indiwire

'The film's rough-hewn naturalism belies an exquisite sense of pace and sneaky breed of gallows humor.'

Blunt and methodical, and much like the work of the auteurs of the Romanian New Wave, it generates its suspense from the inevitability of an outcome that simultaneously jostles corrupt but powerful institutions and makes unwitting monsters of those who try to combat it.'
Christopher Gray, Slant magazine

Gezien tijdens Leids IFF. Debuutfilm met filmprijs Beste Film IFF Warschau, Beste Actrice IFF Angers, Best New Director IFF San Sebastian. DVD op het NLse label (CF1406). ★★★★ 'Writer/directors Kristina Grozeva and Petar Valchanov’s taut and at times unbearably painful tale of financial crisis in modern-day Bulgaria blends the humanist social-realism of the Dardenne brothers with a streak of borderline absurdist gallows humour – the jet black comedy of desperation…Excellently capturing the tension between the controlling order of Nade’s personality and the spiralling chaos of her personal life, Gosheva dominates the screen, her expressive face leading us through a minefield of conflicting emotions toward battle-hardened resolve.'

Mark Kermode, The Observer

★★★★ 'This powerful drama concerns a schoolteacher trying to instil morality into her pupils while wrestling with other transgressions... Valchanov and Grozneva turn this situation into a tragi-comic and even tragi-farcical ordeal that plays out like a slo-mo car crash'

Peter Bradshaw, The Guardian

★★★★ ‘This gripping Bulgarian drama that's up there with the Dardennes and Loach.’

Trevor Johnston, Time Out

★★★★ 'Brilliant Bulgarian drama...it's the complexity of the central character Nadezhda (Margita Gosheva, superb) that makes the film so gripping...Like 4 Months, 3 Weeks and 2 Days, The Lesson is both harrowing and weirdly uplifting.'

Charlotte O'Sullivan, The Evening Standard

★★★★★ 'Co-writers and directors Kristina Grozeva and Petar Valchanov were inspired by a real life news story to create this extremely pleasing austerity thriller. The results are as exciting as anything yielded up by this year’s blockbuster crop.'

Tara Brady, The Irish Times

★★★★ 'The Lesson has the potency of a Dardenne brothers movie. It's a war movie of the everyday; wry, harsh, insightful.'

Nigel Andrews, The Financial Times

★★★★ ‘Stirring stuff, with a magnetic turn from Margita Gosheva (a Bulgarian Cate Blanchett)'

Kevin Maher, The Times

★★★★
‘A tight, bleak, suspenseful drama driven by a commanding, unforgiving performance from actress Margit Gosheva.’
Tom Birchenough, The Arts Desk

★★★★ ‘Modern Classic’ Very impressive drama and can’t wait to see what the writer/directors do next.’

Gareth Cremona, Comicbuzz

'This stark, stealthy and dispassionately shot social-realist drams traps views in what turns out to be a precisely paced, nightmarish thriller...a tough, gripping watch.'

Aaron Hillis, Village Voice

'The film ultimately understands poverty as a profound and often irreversible desolation of terra firma.'

Slant Magazine

'...commanding central performance from Margita Gosheva who makes Nadezdha both a formidable force of nature but someone who proves to be all too human as well.'
Allan Hunter, Screen International
'A definite must see film. Margita Gosheva’s performance is outstanding.'

Toronto Film Scene

'Aided by Gosheva's convincing performance, Grozeva and Valchanov succeed in creating a captivating glimpse into the life of an average person forced to undergo extraordinary experiences.'

–Stefan Dobroiu, Cineuropa

'Loosely based on a real-life incident employed effectively by the filmmakers as a last-act plot twist, Kristina Grozeva and Petar Valchanov’s “The Lesson” is a spare, stripped-to- essentials drama about economic stress and mounting desperation that should resonate with a wide range of international audiences. The naturalistic style of the storytelling is stealthily enthralling, as is the lead performance by Margita Gosheva as a provincial

Bulgarian schoolteacher who is slowly, inexorably driven to the edge by crushing debt.'

–Joe Leydon, Variety

'As gripping a thriller and as squirm-inducing as a horror film... The real achievement of the movie, an especially impressive one coming from filmmakers of relatively little experience, is that as a viewer you may flinch, quail and end up practically hiding behind your hands, but those visceral reactions are in response to the emotional and psychological damage being inflicted onscreen.'
Jessica Kiang, The Playlist / Indiewire

FIPRESCI prijs IFF Cannes 2016.

DVD op het Nlse label De Filmcollectie (DFC059). Filmprijs op IFF Cannes 2004.

Gezien op IFFR. Winnaar Silver Leopard IFF Locarno.

Filmprijs Venetie.

Gezien op DVD op het label Homescreen (6205).

Aka: If the seed doesn’t die: met deze film overtrof de regisseur zijn eerste film ‘Every day God kisses us on the mouth’ uit 2002, waarmee hij een Tiger Award won. Gezien op DVD op het label Tiger Releases 10 to watch (IPM046).

Drama over een dorp dat wordt gedwongen de verkrachting van vrouwen tijdens de oorlog in Kosovo in 1998-1999 onder ogen te zien. EasternNeighboursFilmFestival 2015.

Gezien op het IFFR 2007. De film kwam enigzins chaotisch over.

Oedipous-achtige film over man die de ware identiteit van de jonge vrouw, die hij seksueel benadert, ontdekt. Bedolven onder filmprijzen, waaronder die voor de beste actrice op het IFF Locarno voor Jasna Djuricic. Zij speelt de rol van de moeder en is thans bekend van Quo vadis, Aida? De dochter wordt gespeeld door Hana Selimovic. Gezien op DVD op het Servische label MCF (168NU). Engelse ondertiteling.

Filmdebuut van topactrice Mirjana Karanovic. Zij speelt in deze film de dramatische rol van een echtgenote, die het duistere oorlogsverleden van haar man ontdekt. De film won de Gouden Arena op het IFF Pula 2016.

Tragi-komische film met topacteur Lazar Ristovski in de rol van een treinmachinist die met zijn leven in het reine probeert te komen. Gezien op LIFF 2016.

Film over een destructieve liefdesrelatie tussen 2 jongeren, beheerst door digitale porno-communicatie.

DVD op het Servische label Tuck (273) met Engelse ondertiteling.