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- Locarno submissions open
- Clegg & Guttmann, Portraits and Other Cognitive Excercises 2001-2012
- Crossing Europe, 24.- 29. April 2012
- Glavna nagrada festivala poljskom filmu “Izgleda lepo izdaleka”
- Bleck’s game (ISL 2012)
- VIENNALE slavi 50. jubilej
- Silence, please!
- Počela nedelja nordijskog filma
- Claes Oldenburg ‘Šezdesete’, MUMOK
- Albertina, magazin The Gap & evropski forum Alpbach traže najbolji crtež
- O festivalu Wiener Festwochen
- New works of Hundertwasser in KUNSTHAUS WIEN
- MERKEL’S TRACES OF POWER
- LET’S CEE what happens
- ImPulsTanz 2012 Programme (12th July – 12th August)
- ImPulsTanz 2012 Programme (12th July – 12th August)
- Pushing the boundaries at the Vienna Independent Shorts
- Lisa´s corner är öppnad! Välkomna!
- We recommend: save the date for Technosensual!
- Mathias Poledna to represent Austria at 2013 Venice Biennale
- Mathias Poledna predstavlja Austriju na Bijenalu u Veneciji 2013
- Our recommendation: Franz Zadrazil, the keeper of urban secrets
- Franz Zadrazil, čuvar gradskih tajni
- Hans-Peter Feldmann
- Hans-Peter Feldmann
- Салцбургер Фестшпиле: Дужи, богатији садржајем и скупљи
- O otvaranju Salzburger Festspiele, izvor ‘Politika’
- Donna Leon in Vienna
- Donna Leon gostuje u Austriji
- MUMOK: Reflecting Fashion
- Reflektovanje mode
- Вилијам Бароуз: скалпелом против оруђа контроле
- Hans-Peter Feldmann, BAWAG Contemporary
- Kralj kiča Hans-Peter Feldmann u BAWAG Contemporary galeriji
- Sean Scully, Lentos Museum in Linz
- Sean Scully, Lentos Museum in Linz
- Lentos Collection 1900-2011
- Lentos Collection 1900-2011
- John Cage and…Visual Artists (Influences, Impulses)
- John Cage i vizuelni umetnici (uticaji, impulsi)
- Mjuzikl o Gustavu Klimtu (Politika, Kulturni dodatak 08/08/2009)
- Georg Baselitz – Das Negativ (new works)
- Georg Baselitz u galeriji Thaddeus Ropac
- Save the date: PARKFAIR 2012 – ARTE NOAH
- Svetska izložba PARKFAIR – ARTE NOAH (20.-23. septembar)
- Награда Mонблан француској редитељки Жизел Вијен
- Nosturistic by Thukral & Tagra
- “Nosturistic” Thukrala & Tagre
- Foreigners Everywhere
- H13 2012 – Lower Austria Prize for Performance goes to Lilo Nein
- H13 2012 – Nagrada Donje Austrije za performans odlazi umetnici Lilo Nein
- Human Dignity Contra Cynism
- Dostojanstvom protiv cinizma
- GANGART – “ore inspiring” performance at Erzberg
- GANGART – plesni performans u rudniku metala Erzberg
- Alex Katz in ESSL Museum
- Slikarstvo Alexa Katza u ESSL-u
- VIENNAFAIR The New Contemporary 2012 kicked off
- Impresije sa sajma VIENNAFAIR The New Contemporary (20.-23. septembar 2012)
- Artist talk with Ed Ruscha and Lawrence Weiner
- Razgovor sa umetnicima Edom Ruscheom & Lawrencom Weinerom u Muzeju istorije umetnosti (KHM)
- VIENNAFAIR u novom ruhu
- Iz “škole za idiote” do kulta
- Vienna Design Week, 28th September – 7th October
- Bečka nedelja dizajna (28. Septembar – 7. Oktobar)
- Ulrich Seidl withdraws his films from VIENNALE
- Ulrich Seidl povukao filmove sa VIENNALA
- Photo contest “Photo Booth Art”
- Fotografsko takičenje “Umetnost iz automata”
- CLOWNIN Festival, 30. 11. – 8. 12.2012
- Internacionalni festival ženskih klovnova CLOWNIN
- Dan Flavin – Lights
- Dan Flavin – Lights
- VIENNALE ’12 details revealed
- Otkriveni detalji vezani za VIENNALE 2012
- Golden Byzanthium and the Orient
- Emperor Maximilian I and the Age of Dürer, through the eyes of a heraldist
- Danish Furniture Design and the irresistible beauty of simplicity
- Neodoljiva lepota jednostavnosti
- VIENNA ART WEEK 2012, 19th – 25th Nov.
- Tema Vienna Art Week-a 2012 je “Predviđanje sećanja”
- Nude men
- Nude men
- Staging Leigh Bowery, Kunsthalle Wien
- Staging Leigh Bowery, Kunsthalle Wien
- Vienna Gallery Weekend, 23.-25. November
- Vienna Gallery Weekend, 23.-25. November
- Xenia Hausner “ÜberLeben”
- Xenia Hausner “ÜberLeben”
- Xenia Hausner (ESSL Museum) in Pictures
- Xenia Hausner (muzej ESSL) u slikama
- Leopold Museum in 2013
- Leopold muzej je objavio program za 2013
- Time(less) Signs
- Time(less) Signs
- “The Morning Line” goes to ZKM in Karlsruhe as a permanent gift by the TBA21
- Instalacija “The Morning Line” odlazi trajno u Karlsruhe
- Arne Dahl
- Arne Dahl
- Arne Dahl
- Strah od golog muškarca
- Hans Kupelwieser: “Reflections”
- Hans Kupelwieser: “Reflections”
- Manga “Sinking Japan”
- Manga “Sinking Japan”
- Duga noć muzeja za jetru i nepce
- Project Fresh Danube Films presented at the Crossing Europe Festival
- The Chronicler of Unpleasant Truth
- Hroničar neprijatne istine
- Where’s my eight?
- Neozbiljno baratanje ozbiljnim
- Prix Ars Electronica 2013
- Objavljeni dobitnici Prix Ars Electronica 2013
- Hundertwasser, Japan and Avant-garde
- Hundertwasser, Japan i avangarda
- Projekat Fresh Danube Films predstavljen u Lincu
- Viennese Open Air Cinema (4th July – 18th August)
- Bečki Open Air filmski festival se otvara 4. Jula
- The State of Styria honours Günther Brus
- Pokrajina Štajerska nagrađuje Günthera Brusa
- Beethoven Festival special
- Muzičko veče i predavanje posvećeno Beethovenu
- Hiking Theater FRIEDL of the empty pockets
- “Planinarsko pozorište” od Venta do glečera Marzellferner (Ötztal u Tirolu)
- My Sound of Music (Salzburg Music Film Festival) 12. – 15. September 2013
- Filmski muzički festival “My Sound of Music” u Salzburgu (12-15. Septembar 2013)
- Mario Merz| Arnulf Rainer in “DEEP WIDE [FRAGMENTS]”
- Radovi Maria Merza| Arnulfa Rainera na izložbi “DEEP WIDE [FRAGMENTS]”
- ESSL Museum opens its doors again on June 7th
- Posle teških poplava, ESSL muzej je od 7. juna ponovo otvoren za posetioce
- International Dance and Performance Festival “tanz ist” in Dornbirn (6-15. June 2013)
- Internacionalni festival plesa “tanz ist” u Dornbirnu (6.-15. Juna 2013)
- What’s up pussycat
- Open Call // Community Art in Hoorn NL
- BJA 2013 Cover Competition
- Prague | Call for artists. Categories: Intervention, Landscape/ Nature, Performance, Sculpture / Installation
- Prvi bečki Open Air Cat Video Festival/ 14. jun 2013
- ephemeropteræ 2013 | TBA21 Day
- Julian Opie at the Krobath gallery
- Julian Opie u galeriji Krobath
- Kauboj i dalje jaše ljut
- The winner of the Austrian Photo award “Objektiv 2013” is Heinz Stephan Tesarek
- STRABAG Art Award 2013 for Drawing and Painting
- Austrijska nagrada “Objektiv 2013” za najbolju fotografiju odlazi Heinzu Stephanu Tesareku
- Dodeljena umetnička nagrada STRABAG 2013 za crtež i slikarstvo
- The Tyrolian State Prize for Art 2013 went to Peter Kolger
- Nagrada države Tirol za umetnost 2013 odlazi Peteru Kolgeru
- Švajcarski umetnik Alfons Schilling preminuo u 79. godini
- Peter Kogler at the Mezzanine gallery
- Swiss artist Alfons Schilling dies at the age of 79
- BAWAG P.S.K.: Adaptation of Arts and Culture Sponsorship Strategy
- Curatorial Residency at studios das weisse haus and TBA21-Academy
- Six artistic spots shown on all INFOSCREEN displays in July and August
- Crtanjem protiv zaborava
- Curator/ Kunsthalle Wien
- Temporary memorial to the LGTB victims of the Nazi regime
- Affluence and Avarice by Tinsel Edwards & Twinkle Troughton
- The Image as a Granulate of Reality
- Slika kao zrnce stvarnosti
- Linda McCartney retrospective at the KunstHaus Wien
- Omaž fotografskom stvaralaštvu Linde McCartney
- Double Blind Roberta Irwina
- Prekrajanje privatnosti na izložbi “Faceless I”
- pflasterspektakel (International Street Art Festival in Linz) 18.-20. July 2013
- Danish Food Festival (18-21st July 2013), Palais Hansen Kempinski Vienna
- Egon Schiele’s House transformed into a museum
- Rodna kuća Egona Schielea u Tulnu pretvorena u muzej
- Gallery Ostlicht presents photographic works by Bryan Adams
- Fotografski radovi Bryana Adamsa u galeriji Ostlicht
- Open call: “sandleiten fully wired”/ soho in ottakring festival 2014 (wien)
- is.m (improvised.sound.movement/ mini festival) August 1-7. 2013
- Beč obeležava 200 godina rođenja Theophila Hansena
- Vienna celebrates the second centenary of the birth of Theophil Hansen
- H.R. Giger at the Ars Electronica 2013 Festival
- International Call: Tikveš Wine Label Design
- Međunarodni konkurs za novu etiketu Tikveš Chardonnay
- Salam. Orient Festival 2013 (9th-13th October)
- Bečki festival istočnjačke kulture Salam. Orient 2013 (9.-13. Oktobar)
- Retrospektiva Gottfrieda Helnweina
- CERN and Ars Electronica Linz
- Filmski Festival LET’S CEE 2013 (13-21. Septembar)
- Beč: Karitativna buvlja pijaca knjiga iz oblasti umetnosti i kulture (26-27. Septembar)
- Vienna: Charity (art)book flea market in MUSA (26-27. September)
- Olafur Eliasson “Sua fogueira cósmica” & “My little sun” u muzeju Lentos, Linz
- U susret prvom izdanju Das Dorf in Wien festivala dokumentarnog rock filma, 26-29.09.2013
- “Nude men” go to Musée d’Orsay (September 24th ’13 – January 2nd ’14)
- “Goli muškarci” u pariskom Musée d’Orsay (24. Septembar ’13 – 2. Januar ’14)
- Towards the first “Das Dorf in Wien” festival of music documentaries, September 26th-29th 2013
- Marianne Maderna “Humanimals”, Dominican Church in Krems
- Marianne Maderna “Humanimals” u Dominikanskoj crkvi, Krems
- Ernst Caramelle’s permanent installation opens at the Art Passage, Karlsplatz
- Ernst Caramelle: “Nobody has influence on people’s attention”
- Second Life. Upcycling Glass Design from Finland
- Warhol ★ Basquiat
- 2014 Balkan Fellowship for Journalistic Excellence
- One Billion Rising Vienna 2014
- Gary Numan concert in Vienna’s WUK, February 22nd
- Ars Electronica: New Golden Nica for Visionary Pioneers of Media Art
- International Accordion Festival in Vienna (22.02-23.03.2014)
- Paul Celan Fellowships for Translators – Open Call
- Kathrin Rhomberg appointed as a new director of the Erste Group art collection
- Krinzinger Gallery participates at Arco Madrid 2014
- Ubik Space Open Call for Submissions
- Tickets for Wiener Festwochen (9 May – 15 June 2014) go on sale on 12. March
- Prix Ars Electronica 2014 Submission Deadline Extended to March 19th
- Austria’s largest Fair for Dream Interiors, Accessories, Home Entertainment and Garden opened in Vienna
- Vienna’s fourth music film festival Poolinale, 25.-30. March 2014
- Crossing Europe Festival Trailer «Colors of Noise, Pt. III» by Rainer Kohlberger
- 100 Year of Leica, WestLicht Auction in Wetzlar, 23 May 2014
- Diagonale 2014 Film Festival Winners
- sound:frame departure Conference, 29th March 2014
- Sound Frame Festival “A Matter Of…”, March 25th – April 13th
- Peter Handke is the Winner of the 2014 International Ibsen Award
- Kunsthalle Wien, Germany Design Award Winner 2014 for “Communication Tools”
- Svijet Fabergéa
- Aranžirane tajne predgrađa. Eric Fischl u Albertini
- Az W Photo Award 2014 (Think Global, Build Social! Architectures for a Better World). Deadline: Monday, 15. September 2014
- Az W Photo Award 2014 (“Razmišljaj globalno! Gradi socijalno! Arhitektura za bolji svet”), Krajnji rok: 15. Septembar 2014
- The artists collective FORT receives the Award for ART COLOGNE NEW POSITIONS 2014
- Impressions from the Vienna Contemporary art fair (24-27 September 2015)
- Pesimizam kao kreativan motor Edvarda Munka
- Sopstveni odraz u zlatu baroka
- Snovi o dalekom svetu spakovani u kutije (Joseph Cornell, KHM, Beč)
- Das Weisse Haus Graduate Curatorial Program
- Franz West’s 4 Larvae (Lemur Heads) Return to the Stubenbrücke
- START Prize ’16 – Open Call
- Kunsthalle Exnergasse Call for Proposals 2017
- Presentation of Learning Projects & Opening of the new Kids Corner
- “Klimt, Schiele, Kokoschka i žene” (galerija Donjeg Belvedera, Beč)
- Review: Fence (2018), by Lendita Zeqiraj
- Review: Deer Boy (2017), by Katarzyna Gondek
- /slash 2019 trailer special
- Review: The Raft (2018), by Marcus Lindeen
- Review: Routine (2018), by Bekim Guri
- Review: The Magic Life of “V” (2019), by Tonislav Hristov
- Review: Patision Avenue
- Review: Talking About Trees (2019), by Suhaib Gasmelbari
- Review: A Dog Called Money (2019), by Seamus Murphy
- Review: Reconstructing Utøya (2018), by Carl Javér
- Review: In Between (2019), by Samir Karahoda
- Review: Refugee Lullaby (2019), by Ronit Kertsner
- Review: The Remains (2019), by Nathalie Borgers
- Review: Rihaction (2019) by Neil Young
- Neil Young: If nobody walked out of the film, I would feel as I had failed
- Review: Movements of a Nearby Mountain (2019), by Sebastian Brameshuber
- Review: A Millionaire’s Melancholy (2018), by Carsten Pfaundler
- Review: The Stone Speakers (2018), by Igor Drljača
- Ronit Kertsner: When I saw the suffering of the refugees, I had to do something
- Igor Drljača: I had to wait for the right story to shoot a documentary
- Review: Remapping the Origins (2018), by Johannes Gierlinger
- Film submissions for the 76th Venice Film festival are open
- Talents Sarajevo Call for Entries 2019 (application deadline May 13th)
- Sitges 2019 begins its film submission period
- Submit your film to the 38th Uppsala International Short Film Festival
- Review: Meyrem (2017), by Reber Dosky
- Review: Zingerle (2019), by Eric Marcus Weglehner
- Review: Delectable You (2017), by Axel Courtière
- Review: The Last Well (2017), by Filip Filković
- Review: Session no. 78 (2018), by Bridget O’Driscoll
- Review: The Camel Boy
- Review: Bruce Lee and the Outlaw (2018), by Joost Vandeburg
- Joost Vandebrug: “Bruce Lee and The Outlaw” was my life
- Interview: Ingibjörg Halldórsdóttir, IceDocs
- Review: “All Inclusive”, the winner of the IceDocs Short Film Competition
- Interview: Corina Schwingruber Ilić, director of “All Inclusive”
- The IceDocs has paired a strong outward-looking vision with a warm, inclusive and informative approach in its 1st edition
- Review: 4 Years in 10 Minutes (2018), by Mladen Kovačević
- Interview: Mladen Kovačević, director of “4 Years in 10 Minutes”
- Review: Honeyland (2019), by Tamara Kotevska & Ljubo Stefanov
- Eating out at the Cinemajové Film Festival, Valencia
- Things to do in Prizren around the DokuFest
- Review: Timebox (2018), by Nora Agapi
- Agnès Varda is a director who didn’t lose her vigilance, passion, curiosity and love for humankind until the end
- Review: Citizen K (2019), by Alex Gibney
- Review: Collective (2019), by Alexander Nanau
- Review: 45 Seconds of Laughter (2019), by Tim Robbins
- Review: The Mafia Is No Longer What It Used to Be (2019), by Franco Maresco
- Review: Deborah Harry Does Not Like Interviews (2019)
- Review: Austral Fever ( 2019) by Thomas Woodroffe
- Review: The Tears Thing (2019) by Clémence Poesy
- Review: Dogs Barking at Birds (2019), by Leonor Teles
- Review: The Diver (2019), by Jamie Helmer & Michael Leonard
- Review: Sand (2019), by Kim Kyung-rae
- Review: Delphine (2019), by Chloé Robichaud
- Review: Roqaia (2019) by Diana Saqeb Jamal
- Review: Give Up the Ghost (2019), by Zain Duraie
- Review: Kingdom, Come (2019), by Sean Robert Dunn
- Review: Superheroes Without Superpowers (2019), by Beatrice Baldacci
- Review: After Two Hours, Ten Minutes Had Passed (2019), by Steffen Goldkamp
- Review: Hail Satan? (2019) by Penny Lane
- /slash 2019 festival trailer by Kurdwin Ayub
- Review: Life As a B-Movie: Piero Vivarelli (2019) Fabrizio Laurenti, Niccolò Vivarelli
- Review: Savegame (2018), by Diana Kaiser
- Review: The Peephole (2018), by Enrique Manzo Escamilla
- Review: Heavy Stuff (2019), by Leif Gantvoort
- Review: Plasmid (2019), by Roshni Bhatia
- Review: Z-Goat: First Bleat (2019), by Julien Jauniaux and Bertrand Laplae
- Review: Swipe (2019), by Niels Bourgonje
- Review: Ghost Turd (2018), by Charles Ward (aka Cheese Whiskers)
- Review: How To Live Your Life Correctly (2018), by Xindi Lou
- Review: Delirium (2019), by Vahid Nami & Navid Nami
- Review: Fuse (2018), by Shadi Adib
- Review: Sh_t Happens (2019), by David Štumpf & Michaela Mihályi
- Review: Closure (2019), by Alex Cassun
- Review: The Golden Angel: Terror on Campus (2019), by Alain Vézina
- Review: Miles Davis: Birth of the Cool (2019) by Stanley Nelson
- Remembering Robert Frank
- Review: My Father Is My Mother’s Brother (2018), by Vadim Ilkov
- Programme overview: Ukraine Stay Real & Ukraine Stay Weird (Uppsala International Short Film Festival)
- Review: Sin Cielo (2018), by Jianna Maarten Saada
- Submissions for the 52nd edition of Directors’ Fortnight are open
- rbb is the New Award Sponsor for Berlinale Documentary Film Award 2020 and rbb media is a Berlinale Co-Partner
- Program Overview: Walls (Uppsala International Short Film Festival)
- Film Review: Making Waves: The Art of Cinematic Sound (2019), by Midge Costin
- Interview: Noelle Kerr, Board member of the Jamaica Film and Television Association (JAFTA) and Actor/Producer
- New deadline for entries for the 39th Uppsala Short Film Festival
- Program Overview: Jamaica Now!(Uppsala International Short Film festival), Part 1
- Program Overview: Jamaica Now! (Uppsala International Short Film Festival), Part 2
- Program Overview: Musicals (Uppsala International Short Film Festival), Part 1
- Review: Flowers (2019), by Ismene Daskarolis
- Review: Islandia (2018), by Eydís Eir Brynju-Björnsdóttir
- Program Overview: Musicals (Uppsala International Short Film Festival), Part 2
- Review: The Wedding Cake (2020), by Monica Mazzitelli
- Film Review: Behind Closed Curtains (2017), by Hanna Björg Jónsdóttir
- Interview: Eydís Eir Brynju-Björnsdóttir, the director of Islandia (2018)
- Film Review: Blood Group (2020), by Daan Bunnik
- Art Film Fest’s competition sections open to film submissions
- IceDocs open for submissions
- Film Review: American Factory (2019), by Julia Reichert and Steven Bognar
- Film Review: What Did Jack Do? (2020), by David Lynch
- Interview: Monica Mazzitelli, the director of “The Wedding Cake” (2020)
- Film Review: The Birthmark (2019), by Pia Ilonka Schenk Jensen and Bernhard Hetzenauer
- Film Review: Sadla (2019), by Zamo Mkhwanazi
- Film Review: I’ll End Up In Jail (2019), by Alexandre Dostie
- Review: Mother (2019), by Kristof Bilsen
- Review: The Earth Is Blue as an Orange (2020), by Iryna Tsilyk
- 2020’s Short Film Fund is open (early bird deadline: February 28th)
- Open Call for Circle 2020
- Film Review: I am Going Out For Cigarettes (2018), by Osman Cerfon
- Film Review: Route 3 (2019), by Thanasis Neofotistos
- Review: Sodom & Gomorrah (2019)
- Review: Paola Makes a Wish (2019)
- Brexit: Keeping calm and carrying on at PÖFF Shorts
- Review: Always Amber (2020)
- Review: Days of Cannibalism (2020)
- Review: Saudi Runaway (2020)
- Review: Strike or Die (2020)
- Review: Running on Empty (2020)
- Review: The Viewing Booth (2019)
- Review: Uppercase Print (2020)
- Review: Bloody Nose, Empty Pockets (2020)
- Review: White Riot (2019)
- Review: The Exit of the Trains (2020)
- Review: Ouvertures (2020)
- Review: Irradiated (2020)
- Review: Paperboy (2019)
- Review: Helgi on a Stick (2019)
- Review: A Mixed Bag (2019)
- Zeus Machine: The Invincible (2019)
- Review: The Death of Marie (2020)
- Review: Fists of Redemption (2019)
- Review: Dovetail (2019)
- Review: The American Sector (2020)
- Review: Anbessa (2019)
- Review: Q’s Barbershop (2019)
- So what if the goats die (2020), by Sofia Alaoui
- Review: Good Night (2019)
- Review: Olla (2019)
- Review: SJÄLÖ-Island of Souls (2020)
- Review: White Eye (2019)
- Review: Mind the Gap (2019)
- Review: The Royal Train (2020)
- Review: Robolove (2019)
- Review: Space Dogs (2019)
- Review: Conductor (2018)
- Review: Limbo (2018)
- Review: Road Trash (2019)
- Review: Loom (2018)
- Review: A Machine To Live In (2020)
- Review: Mystery Box (2018)
- Review: El Father Plays Himself (2020)
- Review: Kombinat (2020)
- It’s The End of the World as we know
- Review: Exit (2020)
- Review: Unholy ‘Mole (2019)
- Review: Davos (2020)
- Review: Intrusion (2020)
- Review: State Funeral (2019)
- Review: The Haunted Swordsman (2019)
- Review: Las Ranas (2020)
- Review: Amor Fati (2020)
- Review: Unusual Summer (2020)
- Review: Nemesis (2020)
- Fantaspoa at Home (International Competition)
- Review: Plainsong (2019)
- Review: Mannequins (2020)
- Review: Moment (2019)
- Review: Prayer for a Lost Mitten (2020)
- Review: Rave (2019)
- Review: Smiles (2019)
- Review: Snowflakes (2019)
- Review: Scheme Birds
- Review: Two Bodies on a Beach (2019)
- Review: The Pageant (2020)
- Review: Hard, Cracked the Wind (2019)
- Review: Women Make Film (2018)
- Review: Midnight Family (2019)
- Vertical Shapes in A Horizontal Landscape
- Review: Electric Swan (2019)
- Review: A Loss of Something Ever Felt (2020)
- Review: Oslo (2019)
- Review: The Tent (2019)
- Men and Society
- Review: The Fall (2019)
- Review: Eyes on the Road (2019)
- Review: Making of Making of Nothing (2019)
- Review: Blackbirds (2020)
- Vienna Shorts’ “Nightmares”
- Review: Pond (2019)
- Jeffrey Epstein: Filthy Rich
- Destination Unknown
- The Year of the Discovery (2020), by Luis López Carrasco
- Review: Mare Nostrum (2020)
- Review: Tide (2019)
- Review: Nine Shots (2020)
- Review: Don’t Touch Anything (2019)
- Austrian Music Video Award goes to Rupert Höller
- Review: White Eye (2019)
- Review: For the Living (2019)
- Review: The Verdict in the Case of K. (2020)
- Reflections 1
- Review: Une Femme, Ma Mère (2019)
- Film Review: You Don’t Nomi (2019)
- Film Review: Me and the Cult Leader (2020)
- Review: Oeconomia (2020)
- Review: Aswang (2019)
- Review: Flint (2020)
- Influence (2020)
- Review: To See You Again (2020)
- The Process is the Practice
- Review: Space Journey (2020)
- Review: Funfair (2019)
- Review: Sisters With Transistors (2020)
- Reflections 2
- Review: Stop Nineteen (2020)
- Review: Blow It To Bits (2019)
- Focus on Simplice Ganou at Sheffield Doc|Fest
- Focus on Simplice Ganou at Sheffield Doc|Fest
- Review: The Undertaker (2018)
- Review: King Rocker (2020)
- Review: Untold Chaos (2020)
- The Ills of Society confronted in Fergus Haughton’s ‘Wellspring’ and Hazel Falck’s ‘United Voices’
- Review: We Have Boots (2020)
- Review: The Go Go’s (2020)
- Review: Skin (2020)
- Review: BBQ (2020)
- Review: Benevolent Ba (2020)
- Review: Corporate Accountability (2020)
- Reflections 3
- Review: Elder’s Corner (2020)
- Review: Heat (2019)
- Review: Limbo (2019)
- Review: So What If the Goats Die (2020)
- Review: Lessons of Love (2019)
- Review: Regret (2020)
- Review: We are the Radical Monarchs (2019)
- Review: The Self Portrait (2020)
- ‘No Victors’ Breaks Ground on Necessary Historical Discourse in Nigeria
- Review: Shanzhai Screens (2020)
- Review: Furtivo (2020)
- Reflections 4
- Review: Flesh (2019)
- Review: Misericórdia (2019)
- Marshawn Lynch: A History (2019)
- Slak’s Vicious Cat Short Films
- Melies d’Argent Short Film Selection Review
- Review: See You In My Dreams (2020)
- Review: A Peaceful Divorce (2020)
- Review: Voin (2020)
- Review: Forman Vs. Forman (2019)
- Review: The Sun and the Looking Glass (2020)
- Review: Sweat (2020)
- Review: Soon It Will Be Dark (2020)
- Review: Summer Fasting (2020)
- Review: The Visit (2020)
- Review: The Kites (2020)
- Review: Then the Evening Comes (2019)
- Review: Speak So I Could See You (2019)
- Review: Once Upon a Youth (2020)
- Review: Homelands (2020)
- Banksy: Most Wanted (2020)
- The Devil’s Harmony (2019)
- Review: Outside the Oranges Are Blooming (2019)
- Review: The Van (2019)
- Review: Terminal
- Review: 16. December (2019)
- Review: Mizaru (2019)
- Review: Infidel (2020)
- Review: The Last Image of Father (2019)
- Review: A Sister and a Brother (2019)
- Review: Hello Ahma (2019)
- Review: Good Night (2019)
- Reflections 5
- Review: Summer Fruits (2019)
- Review: Snitch (2019)
- Review: Black Sun (2019)
- Review: Playback (2019)
- Review: Microcassette – The Smallest Cassette I’ve Ever Seen (2020)
- Review: Antiotpad (2020)
- Review: Mamaville (2020)
- Review: The Vibrant Village (2019)
- Review: One of Us (2020)
- Review: Dummy (2020)
- Review: My Universe (2020)
- Review: Nobody Said I Have to Love You (2019)
- Review: Consuming Contemporary (2019)
- Review: Testfilm #1 (2020)
- Review: Cockpera (2020)
- Tragedy segues into gentrification in ‘This Means More’, a sobering reflection on the effects of 1989s Hillsborough Disaster
- Review: Merry Christmas, Yiwu (2020)
- Review: Let There Be Colour (2020)
- Review: Our Lady’s Peace (2020)
- Reflections 6: What does it mean to contribute to film criticism?
- Review: Final Account (2020)
- You don’t get old, you just mature like a fine wine: The End of The Season
- Venice Review: Sportin’ Life
- Review: The Human Voice (2020)
- Review: Invisible City: La materia non conta (2020)
- Review: Coup 53 (2019)
- Review: Porvenir (2020)
- Review: The Return of Tragedy (2020)
- Review: The Shift (2020)
- Review: Entre Tu Y Milagros (2020)
- Review: The Game (2020)
- Review: The Night Train (2020)
- Review: Why Is Mom Always Crying (2019)
- Review: Sogni Al campo (2020)
- Review: Anita (2020)
- Review: Under Her Skin (2020)
- Review: Workshop (2020)
- Review: Places (2020)
- Review: That Other Village (2020)
- 77. Venezia review: Paolo Conte – Via con Me (2020)
- Review: Storkman (2020)
- Review: Faceless (2020)
- Review: Marana (2020)
- Review: White Christmas (2020)
- Review: Come Together (2020)
- Review: Viktorija,15 (2020)
- Review: Cornelian Cherries (2020)
- Review: Belonging (2020)
- Review: History of Civilization (2020)
- Review: I Pledge… (2020)
- Review: Sparks (2020)
- Reflections 7
- Review: Twins Woven from Dreams (2020)
- Review: Bulgarian Dream (2019)
- Review: The Social Dilemma (2020)
- Review: Big vs. Small (2020)
- Review: Haute Cuisine (2019)
- Review: Bos (2020)
- Review: Laura Hasn’t Slept (2020)
- Review: Hungry Joe (2019)
- Review: Waffle (2020)
- Review: Attachment (2019)
- Review: Ferine (2019)
- Review: Yandere (2019)
- Review: The Motorist (2020)
- Review: Gaslight (2019)
- Review: Good Night Little Tomato (2020)
- Review: Plume (2020)
- Review: Postpartum (2020)
- Review: Ural (2019)
- Review: SHHHH (2019)
- Review: The Hunt (2019)
- Review: Grub (2019)
- Reflections 8
- Review: Live Forever (2020)
- Review: The Shadow (2019)
- Review: The Ink Doesn’t Dry (2019)
- Review: Have a Nice Dog! (2020)
- Review: Wade (2019)
- The reality behind a relationship: While You’re Sleeping (2019)
- Review: Aysan (2019)
- Review: Romance Del Robo Del Sacramento (2019)
- Review: Merry Christmas, Mr. Monster (2019)
- Review: Rita (2019)
- One day I’ll fly away: Solid Grounds
- Review: Tomorrow At Dawn (2019)
- Review: Daughter (2019)
- Review: November 1st (2019)
- Review: Bitter Herb (2019)
- Review: Adam (2019)
- Review: The Antidote (2019)
- Review: Smile (2019)
- Review: Black and White Colours (2019)
- Review: Locomotor (2019)
- Review: Mother’s (2019)
- The New African Cinema at the Ca Foscari Short Film Festival
- Review: Simmer (2019)
- Review: Midas. (2020)
- Program overview: Uppsala National Competition, Slot 1
- Review: The Affected (2020)
- Review: Lilla Olle (2020)
- Programme overview: Dance Apocalyptic
- Review: Clean With Me (After Dark) (2020)
- Review: Ballast (2020)
- Review: Silver or Lead (2020)
- Programme overview: Connected
- Review: Land of the Free (2020)
- Review: To Discharge (2019)
- Programme overview: Uppsala National Competition 3
- Review: Fish Bowl (2020)
- Review: Dustin (2020)
- Review: Spontaneous (2020)
- Review: 12K. Marx Street (2019)
- Reflections 9
- EXCLUSIVE: Trailer and poster for Anna Samo’s animation “Conversations With A Whale”
- Review: Work, or to Whom Does the World Belong (2019)
- Programme overview: Animation Refinery
- Review: Park (2020)
- Review: Safety Measure (2020)
- Review: Swimmer (2020)
- Review: War (2020)
- Review: The Kiosk (2020)
- Review: My Dear Spies (2020)
- Review: I’m Not Telling You Anything, Just Sayin’ (2020)
- Review: Nails in My Brain (2020)
- Review: Leave of Absence (2019)
- Review: The Lamb Of God (2020)
- Review: Tesaurus (2020)
- Review: Nine Months (2020)
- Review: All Dogs Die (2020)
- Review: I am Afraid To Forget Your Face (2020)
- Review: En Route (2019)
- Review: Erwin (2020)
- Reflections 10
- Review: Menarche (2020)
- Review: Carbón (2020)
- Review: Forest (2020)
- Review: The Jump (2020)
- Review: Mephistopheles (2020)
- Review: Latvian Coyote (2019)
- EXCLUSIVE: Trailer for Pablo de la Chica’s short documentary “Mama” (2020)
- Review: Soviet Friendsbook (2020)
- Review: You Cannot Kill David Arquette (2020)
- Review: Souvenir, souvenir (2020)
- Review: Struck by Lightning (2020)
- Review: Precious (2020)
- Review: Bench (2020)
- Review: Matilda and the Spare Head (2020)
- Review: Black Sheep Boy (2019)
- Review: Anita (2020)
- Review: Broken Roots (2019)
- Review: Cause of Death (2020)
- Reflections 11
- Give me back my baby elephant!
- Review: Mutts (2019)
- Review: There Will Be No More Night (2020)
- Review: A Story from Africa (2019)
- Review: Cochihza (2013)
- Review: Cenote (2019)
- Review: Divinations (2019)
- Review: Tobacco Embers (1982)
- Review: The End of Suffering (A Proposal) (2020)
- Regional premiere of two films by the Yugantar Film Collective at the 15th Pravo Ljudski Film Festival
- Review: Machini (2019)
- Review: Shirley Temple (2018)
- Review: Sunless Shadows (2019)
- EXCLUSIVE: Trailer for Annie St-Pierre’s short drama “Like The Ones I Used to Know” (2021)
- Review: Alive (2020)
- Reflections 12
- Review: Dick Johnson Is Dead (2020)
- Review: Confused (2021)
- Review: Community Gardens (2019)
- Review: 22:47 Line 34 (2020)
- Review: Mthunzi (2019)
- Review: Benjamin, Benny, Ben (2020)
- Reflections 13
- Review: Filipiñana (2020)
- Review: Now, Daphne (2019)
- Review: Weekend (2020)
- Sundance review: Like The Ones I Used to Know (2021)
- Rotterdam review: Landscapes of Resistance (2021)
- Review: For the Sake of Calmness (2020)
- Review: Flowers Blooming in Our Throats (2020)
- IFFR Review: Manifesto (2021)
- IFFR review: 80 000 years (2021)
- IFFR review: Sunsets, Everyday (2020)
- Review: The Hole’s Journey (2021)
- Review: Tellurian Drama (2020)
- IFFR Review: earthearthearth (2021)
- Review: Happy Valley (2020)
- Review: Lemongrass Girl (2021)
- IFFR review: Tracing Utopia 1 (2021)
- Review: The Witches of the Orient (2021)
- Review: Terranova (2021)
- Reflections 14
- Berlinale review: Jesus Egon Christ (2021)
- Berlinale review: Jack’s Ride (2021)
- Review: More Happiness (2021)
- Review: 13 Ways of Looking at a Blackbird (2021)
- Review: The Men Who Wait (2021)
- Review: The Day is Done (2021)
- Review: Your Street (2020)
- Berlinale review: From The Wild Sea (2021)
- Review: Zonder Meer (2020)
- Review: Window (2021)
- ‘Tina’, Berlinale review: The Fall and Rise of a Soul Survivor
- Berlinale Review: For Lucio (2021)
- Review: Rehearsal (2021)
- Review: Lost on Arrival (2020)
- Review: A Love Song in Spanish (2021)
- Reflections 15: “This is my story, this is my song, praise in my saviour…”
- Review: One Hundred Steps (2021)
- Review: Glittering Barbieblood (2021)
- Review: A Cop Movie (2021)
- Motorcyclist’s Happiness Won’t Fit Into His Suit (2021)
- Review: Vadim on a Walk (2021)
- Review: Strange Object (2021)
- Review: One Thousand and One Attempts to Be an Ocean (2021)
- Review: Young Hearts (2021)
- ‘My Uncle Tudor’, Berlinale review: The illusion of Consent
- Cool Moves: Minotaur (2020)
- SXSW 2021: Spring Valley (2021)
- SXSW 2021: United States Vs Reality Winner (2021)
- SXSW 2021: When Claude Got Shot
- GSFF review: Against The Tide
- GSFF review: Expensive Shit
- GSFF review: 12th Man
- GSFF review: Do No Harm
- GSFF review: Isle Of Us
- Berlinale review: A Present Light (2021)
- GSFF review: Burn on Arrival
- Review: Interrogation (2021)
- Review: Ieva (2021)
- Reflections 16
- Opal H. Bennett Named Co-Producer at American Documentary | POV
- Review: Courage (2021)
- Review: Swamp (2020)
- GSFF review: Consumed (2020)
- Review: Crip Camp: A Disability Revolution (2020)
- Review: Limousine (2021)
- Review: Little Girl (2020)
- Erika Dilday Announced as the New Executive Director of American Documentary Inc.
- Cairo International Film Festival unveils dates for it’s 43rd edition
- Review: Ghost Dogs (2021)
- Review: Nuevo Rico (2021)
- Review: Coffee & Sugar (2021)
- Review: Monte Bravo (2020)
- Review: Bubble (2020)
- Review: Utuqaq (2021)
- Review: I’ll Be Back Tomorrow
- Review: Breaches (2021)
- Review: The Mechanical Dancer (2021)
- Review: Our Bed Is Green (2021)
- Review: The Bubble (2021)
- Reflections 17
- Review: Zinder (2021)
- Review: Pluck (2020)
- Review: Where Should We Go (2021)
- Review: Les Enfants Terribles (2021)
- Review: 27 Steps (2020)
- Review: The City of The Sun (2020)
- Review: If You See Her, Say Hello (2020)
- Review: Jobs for All! (2021)
- Mothers and Others (2020)
- Review: Iranian Daddy (2021)
- Review: Transparent, I am (2020)
- Review: Industries of Freedom (2020)
- Review: Look at Me (2020)
- Review: Best Year Ever (2020)
- Review: You And I (2020)
- Hot Docs review: The Doll
- Review: Island Living (2020)
- Review: Kitchen by Measure (2020)
- Review: Monday (2020)
- Review: Spaghetti (Loosely Based on a True Story) (2021)
- Review: Dalia (2020)
- Review: Blindsided (2021)
- Review: Bussi, Baba (2020)
- Review: Animalia (2020)
- Review: Between Earth and the Moon (2020)
- Programme overview: Vienna Shorts Austrian Competition 1 – The Eye Unlocked
- Review: The Criminals (2020)
- Review: Dar-Dar (2020)
- Review: Cramps (2020)
- Review: Parallel 28 (2021)
- Review: Armadila (2020)
- Programme overview: Vienna Shorts Austrian Competition 3 – Are You Receiving Me?
- Review: Strive, Strive, Strive (2021)
- Review: Woodlands Dark and Days Bewitched: A History of Folk Horror (2021)
- Review: Faya Dayi (2021)
- Review: Her Mothers (2020)
- Review: This Rain Will Never Stop (2020)
- Review: Gorbachev. Heaven (2020)
- Review: All-In (2021)
- Review: Zaho Zay (2020)
- Review: My Name Is Francesco Totti
- Sheffield review: Lydia Lunch – The War Is Never Over (2019)
- Blondie: Vivir En La Habana (2019)
- Review: Notes from the Underworld (2020)
- Review: The Last Dialogue (2021)
- Review: Motorcity (2021)
- Antonio Méndez Esparza: “We had to adapt to the rhythm of the court”
- EXCLUSIVE: Trailer for Samir Karahoda’s short doku-fiction ‘Pa Vend’ (2021)
- Doc Alliance announces 2021 selection, introduces Short Film Award
- Review: Carnivorous Bean Sprout (2021)
- Review: Gold Is Eating People (2021)
- Review: Invisible Eyes (2021)
- Review: Kids on Fire (2020)
- Review: Temple of Devilbuster (2020)
- Review: Night Bus (2019)
- Programme overview: Formosa Fantastica Shorts at NIFFF
- Review: My Friend Who Shines In the Night (2020)
- Review: A Stranger From The Past (2020)
- Escaping the Fragile Planet (2020)
- Night Of The Living Dicks (2020)
- Shoegazing (2021)
- Crock of Gold: A Few Rounds with Shane MacGowan (2020)
- How To Die Young In Manila (2020)
- Review: Phlegm (2021)
- Little Miss Fate (2021)
- Kingdom (2021)
- Pressure Drop (2021)
- Healing (2020)
- Review: Squish (2020)
- Review: Horrorscope (2019)
- Cannes review: Inherent (2021)
- Interview with Samir Karahoda: “I use photography as a tool to complete the script and express my inner self”
- Cannes review: Free Men (2021)
- Diego Marcon: “The idea was to create a film that had to be percieved as a coded language of a very archetypal cinema genre, and to pervert it from the inside”
- Cannes review: When Night Meets Dawn (2021)
- Cannes review: Aya (2021)
- Cannes review: In the Soil (2021)
- Cannes review: Orthodontics (2021)
- Cannes review: Anxious Body (2021)
- Cannes review: Sideral (2021)
- Cannes review: North Pole (2021)
- Cannes review: August Sky (2020)
- Cannes review: The Right Words (2021)
- Cannes review: Absence (2021)
- Cannes review: Through The Haze (2020)
- High-Kick the Holy Tabarnakle
- Manolis Mavris: “Even the queen is powerless in the context of the beehive”
- Review: The Truffle Hunters (2020)
- Review: Lurch (2021)
- Review: Caricaturana (2021)
- Review: Playtime (2021)
- Review: Night (2021)
- Review: Suncatcher (2021)
- Review: The Gig Is Up (2021)
- Diana Cam Van Nguyen: “We had to invent something different”
- Review: It Must (2021)
- Review: And Then They Burn The Sea (2021)
- Review: Christmas (2021)
- Review: The Infernal Machine (2021)
- Review: Dad’s Sneakers (2021)
- Review: Strawberry Cheesecake (2021)
- Review: Neon Phantom (2021)
- Review: Displaced (2021)
- Review: Steakhouse (2021)
- Review: Penalty Shot (2021)
- Nicolaas Schmidt: “In First Time, the negotiated subject is at the same time the method of work”
- Interview with Špela Čadež: “You challenge yourself by trying something for weeks, and then it suddenly opens up”
- Rok Biček: “The football field always represents the world in a micro-cosmos”
- Review: Every Sunday (2020)
- Review: Bosnian Broadway (2021)
- Review: The Sparks Brothers (2021)
- Review: Babi Yar. Context (2021)
- Review: A Glitch in the Matrix (2021)
- Hallelujah: Leonard Cohen, a Journey, a Song
- Review: Trenches (2021)
- Review: The Hole (2021)
- Django & Django – Sergio Corbucci Unchained
- Manlio Gomarasca: “Joe D’Amato was a one-man show”
- Review: Don’t Get Too Comfortable (2021)
- Review: 4 AM (2021)
- Review: Techno, Mama (2021)
- Barbara Paz: “Everything was born from the theater of the artists without a stage”
- Review: The Last Queen on Earth (2020)
- Review: Thumb (2021)
- Review: Trouble
- Review: Girl With a Thermal Gun (2020)
- Review: Survivers (2021)
- Review: Lucid (2021)
- Review: Inheritance (2021)
- Review: The Archivists (2020)
- Review: The Following Year (2021)
- Review: You’re Dead, Helen (2021)
- Book review: ‘Scratches and Glitches: Observations on Preserving and Exhibiting Cinema in the Early 21st Century’ by Jurij Meden (Austrian Filmmuseum, 2021)
- Review: The Bitch (2020)
- Dominik György: “Real life is not edited”
- Montserrat Cattaneo: “Volcanoes are like giant gods who can protect you or destroy you”
- Review: What Will Summer Bring (2021)
- Review: Jane by Charlotte (2021)
- Xin Alessandro Zheng: It is funny that me becoming a director happened as an accident
- Thom Lunshof and co-screenwriter Sam Dijkstra speak about their short ‘Harmonia’
- Retour à Reims (2021)
- Review: The Coup d’État Factory (2021)
- Review: Museum of the Revolution (2021)
- Review: Looking for Horses (2021)
- Review: A River Runs, Turns, Erases, Replaces (2021)
- An American Prayer (2021) by Nusrat Durrani
- Sundance review: Reckless (2022)
- IFFR Review: Géza (2022)
- IFFR review: Footnote (2022)
- IFFR review: Italo Disco. The Sparkling Sound of the 80s (2021)
- Review: Life of Crime 1984-2020 (2021)
- Berlinale review: By Flavio (2022)
- Olivia Rochette & Gerard-Jan Claes: “Documentaries are also a form of fiction”
- Berlinale review: Kind Hearts (2022)
- Ines Alves: “I wasn’t really after making a film”
- Berlinale review: Four Nights (2021) by Deepak Rauniyar
- Thierry Demaizière & Alban Teurlai: “The kids are so used to the cameras that ours was just one more”
- Berlinale review: It’s Raining Frogs Outside (2021)
- Berlinale review: Mutzenbacher (2022)
- Berlinale review: Memories From The Eastern Front (2022)
- Berlinale review: Trap (2022)
- Pawel Lozinski: “The Balcony Movie’ was a kind of casting/ soul-searching process.”
- Winterthur review: All the Crows in the World (2021)
- Winterthur review: Three Songs For Benazir (2021)
- Review: Cabra Cega (2021)
- Winterthur review: Beast (2021)
- Winterthur review: Fire Season (2021)
- Winterthur review: Techno, Mama (2021)
- Review: Flee (2021)
- Boy Sprouted (2021)
- Review: Summer of Soul (…Or, When the Revolution Could Not Be Televised) (2021)
- Review: No Place For You in Our Town (2022)
- Emanuele Gerosa: “I always jump into what I am doing with a lot of passion”
- Review: Just Animals (2022)
- Review: Flight of The Puffin (2021)
- Review: Loser (2022)
- Review: The Eclipse (2022)
- Review: The Best Days(2021)
- Review: Interpretation of Reality – Georg Stefan Troller (2021)
- Review: Signs of War (2022)
- Review: The Nipple Whisperer (2021)
- Review: Days Without (2021)
- Review: The Balcony Movie (2021)
- Kids On The Moon (2022)
- Review: Journey to the Sun (2021)
- Review: Newsreel 80 – Metka, Meki (2021)
- Review: Magaluf, Ghost Town (2021)
- Review: Young Plato (2021)
- Cannes review: For The Sake of Peace (2022)
- Cannes review: Salam (2022)
- Vytautas Katkus: I find it easier to express how I feel about certain things in images than when talking to people
- Cannes review: Moonage Daydream (2022)
- Cannes review: The Natural History of Destruction (2022)
- Review: Goodbye, Jérôme (2021)
- Review: Lili Alone (2021)
- Review: Invisible Hands (2021)
- Review: In the Upper Room (2022)
- Review: Bird in the Peninsula (2022)
- Review: Doom Cruise (2021)
- Review: Impossible Figures and Other Stories I (2021)
- Review: Hollywood (2022)
- Review: Will My Parents Come to See Me (2022)
- Sundance London review: The Princess (2022)
- Review: A Bunch of Amateurs (2022)
- Palm Springs review: End of The Road (2022)
- Karlovy Vary review: Mariuopolis 2 (2022)
- Karlovy Vary review: My Love Affair With Marriage (2022)
- Sheffield review: Karaoke Paradise (2022)
- Karlovy Vary review: Another Spring (2022)
- NIFFF report: Asian shorts close-up
- Karlovy Vary review: Lynch/ Oz (2022)
- NIFFF 2022: Swiss Shorts close-up
- NIFFF 2022: International Shorts Competition close-up
- Kurt Vonnegut: Unstuck in Time (2021)
- Locarno review: Mother Prays All Day Long (2022)
- Locarno review: Balls (2022)
- Locarno review: At Little Wheelie Three Days Ago (2022)
- Locarno review: The Hamlet Syndrome (2022)
- Locarno review: Neighbour Abdi (2022)
- Locarno review: I’m The Only One I Wanna See (2022)
- Locarno review: Last Screening (2022)
- Locarno review: Castells (2022)
- Locarno review: Daron, Daron, Colbert
- Locarno review: Dancing Colors (2022)
- Locarno review: Pillow Face (2022)
- Locarno review: Serafina (2022)
- Locarno review: Fairplay (2022)
- Locarno review: Air Hostess-737 (2022)
- Locarno review: That’s How the Summer Ended (2022)
- Locarno review: Diamond Kid (2022)
- Locarno review: Money and Happiness (2022)
- Locarno review: Hardly Working (2022)
- Review: No Place For You in Our Town (2022)
- Sarajevo review: Diary of a Bride of Christ (2022)
- Sarajevo review: Atonal Glow (2021)
- Sarajevo review: Paying a Visit to Fortuna (2021)
- Sarajevo review: Bigger Than Trauma (2022)
- Sarajevo review: Retreat (2022)
- Sarajevo review: Babajanja (2022)
- Sarajevo review: We…, Composition (2022)
- Sarajevo review: It’s Not Cold for Mosquitoes (2022)
- Review: Microbiome (2022)
- Sarajevo review: 5PM Seaside (2022)
- Sarajevo review: Amok (2022)
- Venice review: The Kiev Trial (2022)
- Venice review: Godard seul le cinéma (2022)
- Venice review: Tria (2022)
- Review: Marx Can Wait (2021)
- Bergen International Film Festival: A Selection of Documentaries
- Open Call for entries for the 55th Directors’ Fortnight
- In talk with Inna Sahakyan: “Aurora’s story was very unique”
- Sundance review: And The King Said, What a Fantastic Machine (2023)
- We Will Not Fade Away (2023) by Alisa Kovalenko
- Eastern Front (2023) by Vitaly Manski & Yevhen Titarenko
- The DNA of Dignity (2022) by Jan Baumgartner
- Dresden review: Municipal Relaxation Module (2022)
- Sheffield Doc Fest announces its programme
- Dresden review: Skinned (2022)
- Vienna Shorts is going big on its 20th edition
- In conversation with the helmers of “Seaguls Cut Through The Sky”, Mariana Bártolo and Guillermo García López
- In conversation with Mario Macedo and Dornaz Hajiha, the helmers of “Maria”
- In talk with the directors of “Thorn”, André Guiomar and Mya Kaplan: “We already had a draft of the story on our first day of work”
- Daniel Hadenius-Ebner: “Homecoming to the MuseumsQuarter was a big step for us”
- Lubna Playoust: “Both acting and directing move me, and I feel home there.”
- Review: Basri & Salma In A Never-Ending Comedy (2023)
- Cannes review: Aunque Es De Noche (2023)
- Interview with Pol de Plecker: “For me, every single scene, colour and sound has a symbolic meaning”
- Cannes review: As It Was (2023)
- El Shatt: A Blueprint for Utopia (2023)
- Review: 2nd Person (2022)
- Review: Arsenie. An Amazing Afterlife (2023)
- Alexandru Solomon: “We are fooled into believing that the 20th century history was interrupted by some major cuts”
- Emilie Brisavoine: “I was switching between Emilie the director, and Emilie the person”
- Cyril Aris: “In general, Lebanese people find a lot of humor in tragedies”
- EXCLUSIVE: Trailer for the Locarno title “THE CURRENCY – Sensing 1 Agbogbloshie”
- Locarno review: Nocturne For A Forest (2023)
- Locarno review: The Currency – Sensing #1 Agbogbloshie (2023)
- Locarno review: A Tortoise’s Year Of Fate (2023)
- Locarno review: Paradise Europe (2023)
- Locarno review: Slimane (2023)
- Locarno review: Duck (2023)
- Locarno review: A Study of Empathy (2023)
- Locarno review: Eating Papaw On The Seashore (2022)
- Locarno review: Scorched Earth (2023)
- Locarno review: Rainer, a Vicious Dog in a Skull Valley (2023)
- Locarno review: Making Babies (2023)
- Locarno review: Searching for the 5th Direction (2023)
- Locarno review: The Guard (2023)
- Locarno review: Last Night (2023)
- Locarno review: Full Night (2023)
- Locarno review: As if Mother Cried That Night (2023)
- Locarno review: Kinderfilm (2023)
- Review: I’m People, I Am Nobody (2022)
- Locarno review: Z.O.(2023)
- Locarno review: Remember, Broken Crayons Colour Too (2023)
- Locarno review: Been There (2023)
- Locarno review: La Vedova Nera (2023)
- Sarajevo review: My Muslim Husband (2023)
- Sarajevo review: Between Revolutions (2023)
- Sarajevo review: Hug (2023)
- Sarajevo review: Valerija (2023)
- Sarajevo review: What’s To be done? (2023)
- Sarajevo review: Deserters (2022)
- Sarajevo review: Silence Of Reason( 2023)
- Sarajevo review: Pero (2023)
- Sarajevo review: Bottlemen (2023)
- Viennale reveals the trailer for its 61st edition
- In talk with Alessia Gasparella & Tom Kiesecoms
- Can I Hug You? (2023)
- Review: The Light (2023) by
- Interview with Jaydon Martin: “As a filmmaker, I never want to get into that territory of being a moralist”
- Berlinale review: Favoriten (2024) by Ruth Beckermann
- Berlinale review: Intercepted (2024) by Oksana Karpovych
- Review: My Room (2024)
- Review: A Fat Person Goes To The Doctor (2023)
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