Naess's second comedy has been described as a Nordic Rain Man and could yet be a rare international success for a Norwegian film. Johan Åhlund looks at it.
Despite some regrettable omissions in the coverage of Marek Haltof's book, Sheila Skaff considers it to be an excellent source on central and east European cinema.
Jay McRoy investigates Lommel's under-appreciated serial killer drama from the standpoint of expressionist aesthetics, queer theory, das neue Kino and the effect of Germany's cultural anxiety over the lingering impact of Nazism's brutal, genocidal legacy.
