Kinoeye:  The fornightly journal of film in the new Europe

Vol 2
Issue 13
9 Sept
2002

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Karlovy Vary International Film Festival posterKARLOVY VARY
Through the past
to the present

Russian films at the 37th Karlovy Vary International Film Festival

Russia has a far larger presence at Karlovy Vary than the Czech Republic's closer neighbours, doubtless because directors from the country provided some of the strongest films in the festival. Andrew James Horton surveys the Russian fare on show.

Aleksandr Sokurov's Russkii kovcheg (Russian Ark, 2002)Elegy to history

Aleksandr Sokurov's
Russkii kovcheg (Russian Ark)

Sokurov's latest film is not only a pinnacle of his own oeuvre but also of recent Russian cinema.

Sergei Potemkin's Mashina prishla (The Machine is Here, 2001)Auteurs old and new

Aleksandr Rogozhkin's
Kukushka (Cuckoo)

Kira Muratova's Chekhovskie motivy (Chekhovian Motifs)

Sergei Potemkin's
Mashina prishla (The Machine is Here)

Valery Fokin's Prevrashchenie
(Metamorphosis)

Ekaterina Kharlamova's Memorabilia - sobranie pamjaatnykh veshchei (Memorabilia - A Collection of Memorable Things, 2001)Musing gangsters

Sergei Bodrov's Sestry (Sisters)

Ekaterina Kharlamova's
Memorabilia—sobranie pamjaatnykh veshchei
(Memorabilia—A Collection of Memorable Things)

Aleksandr Strizhenov and Sergei Ginsburg's Upast' verkh (Falling Up)Aleksandr Strizhenov and Sergei Ginsburg's
Upast' verkh (Falling Up)

Konstantin Murzenko's Aprel' (April)

Valery Rybarev's
Prikovanni (The Chained One)

Nikolai Lebedev's Zvezda (The Star, 2002)Back into the past

Nikolai Lebedev's Zvezda (The Star)

Aleksandr Kott's
Ekhali dva shofera (Two Drivers)

Also of interest

Georges Franju's Les Yeux sans visage (Eyes Without a Face, 1959)The hidden
face of
horror

Georges Franju's
Les Yeux sans visage
(Eyes Without a
Face
, 1959)

In this special Kinoeye horror section, an international trio of film scholars—Curtis Bowman (US), Elizabeth Cowie (UK) and Reynold Humphries (France)—present original and theoretically distinct takes on Franju's 1959 masterpiece.

Dr Franju's "House of Pain" and the political cutting edge of horror

Drawing valuable connections between Les Yeux sans visage and the work of Fritz Lang, Victor Halperin and Luis Buñuel, Reynold Humphries sheds new light on the political implications and "symbolic messages" of Franju's classic.

Taking aim at recent work on Les Yeux sans visage, Curtis Bowman suggests that we eschew political interpretations of Franju's film, at least in the first instance, in favour of explanations "in terms that are available to us from our everyday lives."

A film
without
politics

Anxiety, ethics and horror

Seeking to isolate and theorise the source of her disturbance upon initially viewing Les Yeux sans visage, Elizabeth Cowie turns to Lacan's psychoanalytic account of desire to explore the ethical and aesthetic dimensions of horror cinema.

  Copyright © Kinoeye 2001-2011

KINOEYE AT
THE 2002 FESTIVALS

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Fantasy and SF films

Diagonale

Austrian films

Karlovy Vary

Russian films

Portorož

Slovene films

Skopje

Growing pains


KINOEYE AT
THE 2001 FESTIVALS

Bratislava

Slovak films

Karlovy Vary

Russian films

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Bitva o život

Children (Kosovo 2000)

Podzimní návrat

Plzeň

Czech film

Portorož

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Sarajevo

No Man's Land

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New film & video

Strumica

Macedonia's Marlon Brando

Thessaloniki

Tirana Year Zero

Mliječni put

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Kruh in mleko