Aristakisian's second film was widely perceived to be a let-down after his astonishing debut Ladoni (Hands, 1994). Christina Stojanova introduces a text by Aristakisian, in which the director explains why the film's refusal to pander to mainstream viewers and intellectuals has caused them to fear it.
The Bratislava International Film Festival is fast growing in self-confidence and significance. However, Slovak film production, as Peter Hames explains, has not had the same degree of success.
An overlooked example of queer horror cinema, Il Boia Scarlatto both invokes and departs from the conventions of the peplum in its depiction of a sadistic—and narcissistic—male murderer. Leon Hunt explains.
