“Dancing on Brezhnev’s portrait, or a naked girl appearing next to Stalin’s face”: satirical animation films of the perestroika era
This article explores satirical animation films made across the Socialist bloc during 1986-1991. Coming from Latvia or Czechoslovakia, these films are united by their daring subject matters and visual representations, clearly aimed at breaking taboos of the socialist culture and ridiculing the socialist ideology.
“Dancing on Brezhnev’s portrait, or a naked girl appearing next to Stalin’s face”: satirical animation films of the perestroika era
This article explores satirical animation films made across the Socialist bloc during 1986-1991. Coming from Latvia or Czechoslovakia, these films are united by their daring subject matters and visual representations, clearly aimed at breaking taboos of the socialist culture and ridiculing the socialist ideology.
“There is No Sex in the Soviet Union…”: Valentine’s Day Special Event (18+)
17 February, 7.30 pm at Rich Mix (35 – 47 Bethnal Green Road, E1 6LA) “There is No Sex in the Soviet Union…“ This unintentionally intriguing comment by a Russian guest on a live US TV link provides a playful starting point for a real question.
“There is No Sex in the Soviet Union…”: Valentine’s Day Special Event (18+)
17 February, 7.30 pm at Rich Mix (35 – 47 Bethnal Green Road, E1 6LA) “There is No Sex in the Soviet Union…“ This unintentionally intriguing comment by a Russian guest on a live US TV link provides a playful starting point for a real question.
Obskura film event: ASSA at Pushkin House
Next Tuesday, 9th of February, we are collaborating with Pushkin House to bring you the screening of the ultimate Soviet rock film ASSA (1987, directed by Sergei Solov’ev).
Obskura film event: ASSA at Pushkin House
Next Tuesday, 9th of February, we are collaborating with Pushkin House to bring you the screening of the ultimate Soviet rock film ASSA (1987, directed by Sergei Solov’ev).
WHITE HORSE Films from Georgia, 3-17 January, Deptford Cinema
The dreamlike phantasmagoria and poetry that underpin so many Georgian films have captured the imagination of cinema-lovers the world over, and Georgian cinema is currently enjoying an enthusiastically renewed appreciation. This January, Helena R. Kernan from University of Cambridge is putting together a short season of Georgian cinematic gems for London-based film aficionados.
WHITE HORSE Films from Georgia, 3-17 January, Deptford Cinema
The dreamlike phantasmagoria and poetry that underpin so many Georgian films have captured the imagination of cinema-lovers the world over, and Georgian cinema is currently enjoying an enthusiastically renewed appreciation. This January, Helena R. Kernan from University of Cambridge is putting together a short season of Georgian cinematic gems for London-based film aficionados.
Ukrainian Cinema Days in London, 10-13 December 2015, RichMix
Despite war and the resulting political turmoil, there are other stories emerging from this extraordinary country. Bold, inspiring and unexpected, Ukrainian cinema has been enchanting audiences at the most prestigious film festivals and cinemas around the world. Now it’s London’s turn to celebrate the emerging cinematic talents and discover some of the masterpieces of Ukrainian contemporary
Ukrainian Cinema Days in London, 10-13 December 2015, RichMix
Despite war and the resulting political turmoil, there are other stories emerging from this extraordinary country. Bold, inspiring and unexpected, Ukrainian cinema has been enchanting audiences at the most prestigious film festivals and cinemas around the world. Now it’s London’s turn to celebrate the emerging cinematic talents and discover some of the masterpieces of Ukrainian contemporary
PERVOROSSIYANE (1967): an eccentric take on early Soviet history “unshelved” only in 2009
Year 1967. On the wave of Khrushchev’s Thaw, a lot of filmmakers were eager to push the boundaries of the acceptable, and the 50th anniversary of the October Revolution seemed like an appropriate reason for drawing inspiration from the revolutionary avant-garde.
PERVOROSSIYANE (1967): an eccentric take on early Soviet history “unshelved” only in 2009
Year 1967. On the wave of Khrushchev’s Thaw, a lot of filmmakers were eager to push the boundaries of the acceptable, and the 50th anniversary of the October Revolution seemed like an appropriate reason for drawing inspiration from the revolutionary avant-garde.
OBSKURA EVENT: Celebrating the life and work of Vladimir Vysotsky
On Wednesday 2nd of December, join us for an event celebrating the life and work of Russian poet, singer-songwriter and actor Vladimir Vysotsky.
OBSKURA EVENT: Celebrating the life and work of Vladimir Vysotsky
On Wednesday 2nd of December, join us for an event celebrating the life and work of Russian poet, singer-songwriter and actor Vladimir Vysotsky.
Peter Greenaway’s EISENSTEIN IN GUANAJUATO at Fringe! Queer Film & Arts Fest
EISENSTEIN IN GUANAJUATO (2015) Fringe! Queer Film & Arts Fest Rio Cinema, Tuesday 24 November, 8:30pm This startling, joyful whirlwind of a film takes us on a completely over-the-top journey of Russian auteur filmmaker Sergei Eisenstein’s trip to Mexico in 1931.
Peter Greenaway’s EISENSTEIN IN GUANAJUATO at Fringe! Queer Film & Arts Fest
EISENSTEIN IN GUANAJUATO (2015) Fringe! Queer Film & Arts Fest Rio Cinema, Tuesday 24 November, 8:30pm This startling, joyful whirlwind of a film takes us on a completely over-the-top journey of Russian auteur filmmaker Sergei Eisenstein’s trip to Mexico in 1931.
Juraj Herz’s SPALOVAČ MRTVOL (1968): The Psychological Horror of Totalitarianism
This article on Czechoslovak dark drama film Spalovač mrtvol (The Cremator) is courtesy of our today’s special guest writer David A.J. Reynolds. David is a British writer, editor, and teacher. Currently based in Illinois, he has lived and taught in Hungary and the Czech Republic.
Juraj Herz’s SPALOVAČ MRTVOL (1968): The Psychological Horror of Totalitarianism
This article on Czechoslovak dark drama film Spalovač mrtvol (The Cremator) is courtesy of our today’s special guest writer David A.J. Reynolds. David is a British writer, editor, and teacher. Currently based in Illinois, he has lived and taught in Hungary and the Czech Republic.
VELLA KALPI (1970): a carnivalesque costume drama from Soviet Latvia at SSEES 100 Film Festival
On Thursday 12th of November the SSEES Centenary Film Festival will show a 1970 Soviet Latvian comedy costume drama film VELLA KALPI (The Devil’s Servants), written and directed by Aleksandrs Leimanis and produced by Riga Film Studio.
VELLA KALPI (1970): a carnivalesque costume drama from Soviet Latvia at SSEES 100 Film Festival
On Thursday 12th of November the SSEES Centenary Film Festival will show a 1970 Soviet Latvian comedy costume drama film VELLA KALPI (The Devil’s Servants), written and directed by Aleksandrs Leimanis and produced by Riga Film Studio.
Rare public screening of Jarva’s DIARY OF A WORKER (1967) at the SSEES 100 Film Festival
On Tuesday 3rd of November, the SSEES Centenary Film Festival will show a 1967 Finnish drama film Työmiehen päiväkirja (Diary of a Worker, also released as Not by Bread Alone), directed by Risto Jarva.
Rare public screening of Jarva’s DIARY OF A WORKER (1967) at the SSEES 100 Film Festival
On Tuesday 3rd of November, the SSEES Centenary Film Festival will show a 1967 Finnish drama film Työmiehen päiväkirja (Diary of a Worker, also released as Not by Bread Alone), directed by Risto Jarva.
SSEES 100 Film Festival continues with ANIKINA VREMENA (1954), an adaptation of Ivo Andrić’s novel
On Monday 26th of October the SSEES Centenary Film Festival will show a 1954 Yugoslav film directed by Vladimir Pogačić, ANIKINA VREMENA (Legends of Anika). The screening will be introduced by Vlastimir Sudar, Professor of Film History and Theory, University of the Arts London.
SSEES 100 Film Festival continues with ANIKINA VREMENA (1954), an adaptation of Ivo Andrić’s novel
On Monday 26th of October the SSEES Centenary Film Festival will show a 1954 Yugoslav film directed by Vladimir Pogačić, ANIKINA VREMENA (Legends of Anika). The screening will be introduced by Vlastimir Sudar, Professor of Film History and Theory, University of the Arts London.
Rediscovering forgotten Romanian documentary films at SSEES 100 Film Festival
On Wednesday October 21st the SSEES Centenary Film Festival will give us a taste of documentary films produced in socialist Romania at the Alexandru Sahia documentary film studio.
Rediscovering forgotten Romanian documentary films at SSEES 100 Film Festival
On Wednesday October 21st the SSEES Centenary Film Festival will give us a taste of documentary films produced in socialist Romania at the Alexandru Sahia documentary film studio.
A once banned Czechoslovak film EXTASE (1933) represents 1930s at SSEES 100 Film Festival
On Tuesday 20th of October the SSEES Centenary Film Festival will show a once banned Czechoslovak film EXTASE (Ecstasy, 1933) by Gustav Machatý.
A once banned Czechoslovak film EXTASE (1933) represents 1930s at SSEES 100 Film Festival
On Tuesday 20th of October the SSEES Centenary Film Festival will show a once banned Czechoslovak film EXTASE (Ecstasy, 1933) by Gustav Machatý.
“The first Ukrainian film”: Dovzhenko’s ZVENYHORA (1927) at SSEES 100 Film Festival
On 13th of October the SSEES Centenary Film Festival will treat us to a masterpiece of early Soviet Ukrainian cinema, a 1927 silent revolutionary epic by Oleksandr Dovzhenko, ZVENYHORA.
“The first Ukrainian film”: Dovzhenko’s ZVENYHORA (1927) at SSEES 100 Film Festival
On 13th of October the SSEES Centenary Film Festival will treat us to a masterpiece of early Soviet Ukrainian cinema, a 1927 silent revolutionary epic by Oleksandr Dovzhenko, ZVENYHORA.
Evgenii Bauer’s AFTER DEATH (1915) & THE DYING SWAN (1917) open SSEES 100 Film Festival
The SSEES Centenary Film Festival opens next Monday, 12th of October, with two Russian pre-revolutionary silent films, AFTER DEATH and THE DYING SWAN, directed by Evgenii Bauer. Described by Los Angeles Times film critic Kenneth Turan, “The greatest director you’ve never heard of“, Evgenii Bauer
Evgenii Bauer’s AFTER DEATH (1915) & THE DYING SWAN (1917) open SSEES 100 Film Festival
The SSEES Centenary Film Festival opens next Monday, 12th of October, with two Russian pre-revolutionary silent films, AFTER DEATH and THE DYING SWAN, directed by Evgenii Bauer. Described by Los Angeles Times film critic Kenneth Turan, “The greatest director you’ve never heard of“, Evgenii Bauer
SSEES 100 Film Festival: 100 years of cinematic excellence from the Eastern Bloc
The full programme of the festival is available here. To celebrate one hundred years since its founding, the School of Slavonic and East European Studies (University College London) is organizing a season of films to showcase Eastern European cinema during the last 100 years.
SSEES 100 Film Festival: 100 years of cinematic excellence from the Eastern Bloc
The full programme of the festival is available here. To celebrate one hundred years since its founding, the School of Slavonic and East European Studies (University College London) is organizing a season of films to showcase Eastern European cinema during the last 100 years.
Russians are shooting VIY II in China, and Jackie Chan stars in it
After the financial success of the film Viy 3D (2014), director Oleg Stepchenko and his team have decided to shoot a sequel that will hit the big screen in 2016. The whole thing is planned as an ‘epic horror trilogy akin to Indiana Jones‘.
Russians are shooting VIY II in China, and Jackie Chan stars in it
After the financial success of the film Viy 3D (2014), director Oleg Stepchenko and his team have decided to shoot a sequel that will hit the big screen in 2016. The whole thing is planned as an ‘epic horror trilogy akin to Indiana Jones‘.
Problem kids of the Putin era in films by Valeria Gai Germanika
Young Russian director Valeria Gai Germanika is a female version of Larry Clark – in the course of her relatively short cinematic career she has been mainly preoccupied with telling stories of adolescence. In the pre-Pussy Riot era, both content and form of her films were a subject of much controversy in Russian community.
Problem kids of the Putin era in films by Valeria Gai Germanika
Young Russian director Valeria Gai Germanika is a female version of Larry Clark – in the course of her relatively short cinematic career she has been mainly preoccupied with telling stories of adolescence. In the pre-Pussy Riot era, both content and form of her films were a subject of much controversy in Russian community.
Tsoi, Drugs and Soviet rock: The Needle and the Kazakh New Wave in the context of late Soviet cinema
[This article was originally published on Vostok Cable] To follow up on the film and music event dedicated to the legendary Soviet musician Viktor Tsoi and his band Kino, Obskura’s editor-in-chief Inese Strupule discusses The Needle (1988), Tsoi’s rock persona, the Kazakh New Wave, and their place in the cultural scene of the late Soviet
Tsoi, Drugs and Soviet rock: The Needle and the Kazakh New Wave in the context of late Soviet cinema
[This article was originally published on Vostok Cable] To follow up on the film and music event dedicated to the legendary Soviet musician Viktor Tsoi and his band Kino, Obskura’s editor-in-chief Inese Strupule discusses The Needle (1988), Tsoi’s rock persona, the Kazakh New Wave, and their place in the cultural scene of the late Soviet