It is not a mystery any more, if it ever was, that the rise of populism in Europe is rooted not only in the political processes, but also, even predominantly, in the economic ones.
About Marko Stojiljković
Posts by Marko Stojiljković:
The reception of Dovetail, a fiction short film directed by Magnús Leifsson, depends on the viewer’s inclination to accept the narrator as the general storytelling device and the narrator in the film in particular.
Sometimes, it is just what it is. No more, no less. No secret meaning. What we see and hear in the opening credits is basically what we are going to get.
Sometimes, when an old and wealthy person dies or is about to die, it creates a rift in a family and the reasons are not always just financial by nature.
A Mixed Bag, the title of Hana Rakel’s short, might refer to a number of things, physically and metaphorically. It could be the bag of groceries its protagonist Fjóla (Thorun Magnea Magnúsdóttir) buys at the supermarket…
There is a word play in the title of Magnea B. Valdimarsdóttir’s short portrait documentary “Helgi on a Stick” that could be traced to its Icelandic original.
Sometimes, a simple, warm, humane hug is all someone needs. Ninna Pálmadóttir’s Paperboy ends with one such hug and it is enough of a payoff for a generally somber mood the film is set in.
The picture is being projected on three horizontally aligned boxy, 4:3 screens simultaneously, making the film’s aspect ratio extremely wide, 4:1.
There is no doubt that The Exit of the Trains is a significant work, but the question that arises is what part of it could be considered cinema.