communist

  • Third World

    Third World

    MUSIC: The liminal experience of legendary Croatian band Haustor – which shaped the former Yugoslavia new wave music scene in the 1980s – is explored in Arsen Oremović's Third World.

  • The Czech Film Project

    The Czech Film Project

    CINEMA: Karlovy Vary Asks: «What is Czech in Czech Cinema?»

  • Ms. President

    Ms. President

    POLITICS: A look at Slovak President Zuzana Čaputová’s transformative term.

  • The privilege of the self-portrait

    The privilege of the self-portrait

    MEXICO: The intersection of migration and personal identity with Night of the Coyotes and Frida: A Self-Portrait.

  • Krakow Film Festival spotlights Romanian documentary with 64th edition focus

    Krakow Film Festival spotlights Romanian documentary with 64th edition focus

    Romanian cinema, long celebrated on the international stage, has found a new expression in documentary filmmaking that is garnering equal acclaim. At the forefront are directors such as #Radu Jude#, #Cristian Mungiu#, and #Cristi Puiu#, whose narratives have traditionally woven the complexities of Romania’s social and historical fabric. This spring, the 64th Krakow Film Festival‘s…

  • Sunlight on pause in Kharkiv’s underground

    Sunlight on pause in Kharkiv’s underground

    UKRAINE: The courage and community of Kharkiv's metro dwellers amidst ongoing attacks.

  • Changing the world through documentary

    Changing the world through documentary

    MEDIA: Cultural anthropologist Sherry B. Ortner provides an easy-read introduction to the logic and visions behind Brave New Films, whose documentary production is non-profit and distributed through social and political networks with the articulated goal of mobilising resistance against capitalism, racism, and fascism.

  • Being in the opposing position

    Being in the opposing position

    ŽIŽEK: Despite being a public intellectual for at least 30 years, there has been no previous discussion of Slavoj Žižek's thought as multifaceted and nuanced as the one we see in the current anthology. But does Žižek recognise the revolutionary potential of desire?

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