Review: Thumb (2021)
The foundation of Pechman’s film is the uneasy atmosphere she masterfully creates and the tension between the mysterious, but detailed characters, present as well as absent ones.
Marko Stojiljković
About Marko Stojiljković
Posts by Marko Stojiljković:
Review: Techno, Mama (2021)
‘Techno, Mama’ is a spectacle on almost every level of filmmaking and a wild ride through the territory of the under-privileged coming of age that feels both painfully familiar and strikingly fresh.
Review: 4 AM (2021)
The whole film consists of longer, dynamic shots in black and white, carefully edited to paint the picture of chaos in detail.
Review: Don’t Get Too Comfortable (2021)
From the opening on, it is clear that Don’t Get Too Comfortable is quite a technical piece of cinema that combines the documentary content with experimental execution.
Review: A Glitch in the Matrix (2021)
Ascher approaches the topic in a pretty standardized American way, relying on the interviews with the selection of the film’s subjects, mostly fans of the theory.
Review: Babi Yar. Context (2021)
‘Babi Yar. Context’ is a strongly unpleasant, yet immersive experience (like a lot of Loznitsa’s work in general) with a powerful humane message.
Review: Penalty Shot (2021)
In ‘Penalty Shot’, Biček demonstrates both his courage and elegance in the filmmaking approach.
Review: Steakhouse (2021)
‘Steakhouse’ by Špela Čadež is a mature, wonderfully executed animated short for adult audiences
Review: Displaced (2021)
Samir Karahoda’s short ‘Displaced’ ia a blend of absurdist comedy, societal tragedy and documentary-quality anecdotes about the fortunes of a ping-pong club from Prizren, Kosovo and the struggle of the two men to keep it going.
