In this profile, written by critic and curator Rachel Pronger and first published on the Klassiki Journal, we introduce you to one of the most consequential and misunderstood figures in Soviet film history: Yuliya Solntseva. A silent star who became one half of Ukraine’s most influential creative marriage but whose place in history has been obscured for too long.

Klassiki subscribers can watch Solntseva’s iconic performances in Aelita and Earth now. Sign up for a free 7-day trial at klassiki.online.

Host Sam Goff is joined by two representatives of the so-called “film movement” in Georgia – Keti Machavariani of the Georgian Film Institute, and Keto Kipiani of the Documentary Association of Georgia – to discuss cinema’s place in the ongoing protest movement against the increasing authoritarianism of the country’s government. They explain the situation on the ground for filmmakers and how the film world relates to the wider protest movement fighting for Georgia’s future.

Klassiki subscribers can explore our collection of Georgian titles here. Sign up for a free 7-day trial at klassiki.online.

Klassiki is a streaming platform with a difference. Dedicated to cinema from eastern Europe, we offer subscribers an ever-evolving library of classic and contemporary titles, featuring iconic figures like Andrei Tarkovsky and Kira Muratova as well as hidden gems, documentaries, animation, and more. Subscribers get access to all this, as well as filmmaker interviews, video essays and introductions, programme notes, and much more. We’re available in the US, the UK, and Ireland and you can sign up for a free 7-day trial today at klassiki.online.

To help take you further into the wide world of eastern European film, we’re launching the Klassiki Podcast, exploring the past, present, and future of this fascinating region. 

Each season of ten episodes will feature interviews, roundtable discussions, recorded essays, and more. Episodes will be released every Monday during each season and available on all major podcasting platforms. Make sure to subscribe now so you don’t miss a thing and tune in next week for our first show. 

In this guide, first published on the Klassiki Journal and written and read by host Sam Goff, we introduce the cinema of the Soviet Thaw. As a new era of cultural freedom swept the USSR after the death of Stalin, iconic directors like Mikhail Kalatozov and Marlen Khutsiev created a new cinematic language defined by sincerity and stylistic innovation.

Read the original piece here and make sure to explore our collections of classic Soviet and cult sixties film. Sign up for a free 7-day trial at klassiki.online.

Dan Bird is one of the world’s leading specialists on cult cinema from Eastern Europe. His work in restoration and distribution has played a key role in preserving the legacies of iconic filmmakers like Andrzej Żuławski and Sergei Parajanov. He joins host Sam Goff to discuss a career spent traversing Eastern Europe in search of hidden gems.

Klassiki subscribers can watch a cult cinema playlist inspired by Dan’s adventures here. Sign up for a free 7-day trial at klassiki.online.

In this piece, first published on the Klassiki Journal by critic Sonya Vseliubska and read here by host Oliver Hunt, we introduce the wild world of the Czech New Wave, one of the most influential movements in Central and Eastern European cinema. Blending aesthetic and philosophical innovations from France and Italy, the New Wave gave us legendary figures like Věra Chytilová, František Vláčil, and Miloš Forman.

Read Sonya’s piece here and make sure to explore our collection of Central European film. Sign up for a free 7-day trial at klassiki.online.

Legendary Polish director Agnieszka Holland joins host Oliver Hunt to discuss her ripped-from-the-headlines new film, Green Border. Tackling the refugee crisis that unfolded along the Poland-Belarus border in 2021, the film provoked political controversy within Poland, and shows Holland at her humanist best.

Green Border is out in the UK from 21 June. Make sure also to check out Holland’s 2017 eco-thriller Spoor, available now to Klassiki subscribers. Sign up for a free 7-day trial at klassiki.online.

Film producer extraordinaire Ada Solomon joins host Sam Goff to take us behind the scenes of Romanian’s troubled but brilliant post-communist cinema. One of Eastern Europe’s most vital producers, Ada outlines the origins of the Romanian New Wave, the movement that rocked Europe in the 2000s. She also gets into her work with Radu Jude and others, and how her career bridges Eastern and Western Europe.

Make sure to check out our interview with Jude in the first episode of the Klassiki Podcast, and explore our collection of New Wave titles here. Sign up for a free 7-day trial at klassiki.online.

Acclaimed Canadian-Armenian filmmaker Atom Egoyan joins host Sam Goff to discuss the role his Armenian heritage has played in his career. From his early features to his historical epic Ararat, Atom discusses how he’s grappled with personal and national history onscreen and the gems of classic Armenian film that have inspired him.

Delve into Atom’s recommendations by exploring our complete collection of Armenian film here. Sign up for a free 7-day trial at klassiki.online.

Film historian Ian Christie joins host Sam Goff to discuss his new book on the Factory of the Eccentric Actor: one of the most striking and under-appreciated corners of Soviet avant-garde cinema. Ian talks us through the wild world of 1920s Petrograd, how Eccentrism predicted the French New Wave, and the lessons it still bears for students of Russian culture today.

Buy Ian’s book Eccentrism Turns 100: FEKS and the Early Soviet Avant-Garde here. Read an exclusive extract on our Journal here. Sign up for a free 7-day trial at klassiki.online.

Romania’s provocateur in chief Radu Jude joins host Sam Goff to discuss the runaway success of his hilarious new film, Do Not Expect Too Much from the End of the World. Along the way, Jude explains the the East-West crisis in European politics, his evolving approach to national history, and how TikTok is forcing filmmakers to adapt – or die. 

Watch Jude’s 2018 satire I Do Not Care if We Go Down in History as Barbarians on Klassiki now. Sign up for a free 7-day trial at klassiki.online.

The Klassiki Podcast is back for our second season. We’re kicking off with an interview with author Owen Hatherley about the history of the tower block on screen. Widely understood in the West as symbolic of the grey monotony of life behind the Iron Curtain, the prefab tower block remains misunderstood more than three decades after the fall of communism. 

To get past the clichés, host Sam Goff sat down with Owen to discuss five films set in and around these mass housing monoliths, from five different directors – including iconic auteurs Béla Tarr, Krzysztof Kieślowski, and Věra Chytilová – to see how the image of the block changed over time.

Check out Owen’s books about his journeys through Eastern Europe, Landscapes of Communism and The Adventures of Owen Hatherley in the Post-Soviet Space. Sign up for a free 7-day trial at klassiki.online.

Host Sam Goff sits down with Polish filmmaker Damian Kocur to discuss his new Ukraine war drama Under the Volcano. The film follows a Ukrainian family who are vacationing in Tenerife when the full-scale war breaks out back home, leaving them stranded on the island. Damian explains how he applied his idiosyncratic filmmaking technique to this story of grief and dislocation, and how the war has affected both Ukrainian filmmakers and their neighbours in eastern Europe.

Watch Damian’s debut feature Bread and Salt on Klassiki now. Sign up for a free 7-day trial at klassiki.online.

Georgian filmmaker Sandro Koberidze joins host Sam Goff to chat about his forthcoming film Dry Leaf and the hidden connections between his two great passions: cinema and football.

Watch Sandro’s award-winning What Do We See When We Look at the Sky? on Klassiki now. Sign up for a free 7-day trial at klassiki.online.

This month, audiences in London have been revisiting the works of one of Russian cinema’s grandees, with a retrospective of the films of Aleksandr Sokurov, organised by the cultural institute Pushkin House. Best known in the West for his 2002 epic Russian Ark, Sokurov is arguably the last living embodiment of the classic Russian arthouse director, in all its contradictions. 

To make sense of Sokurov in 2024, host Sam Goff sits down with film historian and curator Ian Christie, who has been working on and with the director since the 1980s. 

Find out more about the Sokurov season and Pushkin House here. Sign up for a free 7-day trial at klassiki.online.

In this guide, first published on the Klassiki Journal and written and read by host Sam Goff, we introduce the cinema of Poland in the 1980s. The last decade of communist rule was a period marked by the brutality of martial law, but also the emergence of critical new voices and masterpieces from figures such as Andrzej Wajda, Agnieszka Holland, and Krzysztof Kieślowski.

Read the original piece here and make sure to explore our collection of Polish titles. Sign up for a free 7-day trial at klassiki.online.

This month saw the 68th edition of the London Film Festival hit the capital’s cinemas. Host Sam Goff went down to the festival press circuit to get hold of two of Eastern Europe’s finest: Georgia’s Dea Kulumbegashvili, whose abortion drama April has been turning heads since it won the Special Jury Prize at this year’s Venice Film Festival; and Bulgaria’s Petar Valchanov, whose latest stranger-than-fiction tale recreates a bizarre episode from his nation’s recent history involving psychics and alien artefacts... 

Watch Petar’s 2019 drama The Father on Klassiki now. Sign up for a free 7-day trial at klassiki.online.

2024 marks 80 years since the release of the great Sergei Eisenstein’s final, unfinished masterpiece: Ivan the Terrible. Commissioned by Stalin himself to make a biopic celebrating the bloodthirsty 16th-century tsar, Eisenstein instead produced a complex portrait of paranoia and power that remains relevant to this day.

To get to the heart of Eisenstein’s Ivan, host Sam Goff speaks with Joan Neuberger, Professor Emerita at the University of Texas and the author of This Thing of Darkness: Eisenstein’s Ivan the Terrible in Stalin’s Russia.

Sign up for a free 7-day trial at klassiki.online.

2024 marks one hundred years since the birth of the great Sergei Parajanov, who turned Soviet cinema on its head in masterpieces like Shadows of Forgotten Ancestors and The Colour of Pomegranates. Persecuted for his experimental artistic approach and queer identity, his work still provokes vital questions about post-Soviet culture.

What exactly does Parajanov mean today? To answer this question, host Sam Goff speaks with Carmen Gray, a critic and programmer specialising in the cinema of eastern Europe and the Caucasus. Read Carmen’s beginner’s guide to Parajanov here and head over to Klassiki to watch Shadows of Forgotten Ancestors and Hakob Hovnatanyan now.

Sign up for a free 7-day trial at klassiki.online.

Host Sam Goff speaks to Armenian director Shoghakat Vardanyan about her remarkable debut, 1489. In 2020, Vardanyan’s 21-year-old brother went missing days into the Second Nagorno-Karabakh War between Armenia and Azerbaijan. With no prior filmmaking experience, Shoghakat picked up her phone and started recording herself and her parents as they began a gruelling quest for information. The resulting film is a portrait of family grief and resilience, in which we watch a young woman learning to express herself through film in real time. On this week’s episode, Shoghakat talks about the emotional experience of making the film and becoming a celebrated director by accident. 

1489 is screening at the Institute of Contemporary Arts in London on Saturday 7 December as part of the inaugural London Armenian Film Festival. Buy tickets for the screening here.

Sign up for a free 7-day trial at klassiki.online.

We’ve reached the end of the second season of the show! Thank you to everyone who’s listened along so far. If you enjoy the show, please leave us a five-star review or a comment on your podcast app of choice. We’ll be back in 2025 with a new season, bigger and better than before.

For the final episode of the season, we’re dipping back in to the archive of the Klassiki Journal for an essay on the groundbreaking collaboration between director Mikhail Kalatozov and cameraman Sergei Urusevsky. Over just seven years and three films, the duo turned Soviet cinema on its head with their revolutionary cinematography and depth of feeling, winning the Palme d’Or along the way. 

Read the original piece here and make sure to explore our collection of classic Soviet titles, including Kalatozov’s Salt for Svanetia. Sign up for a free 7-day trial at klassiki.online.

The Klassiki Podcast is back! To kick off our third season, we're stepping into the studio with Stephen and Timothy Quay, aka the Quay Brothers. 

The duo’s career spans five decades and has seen them craft features, shorts, music videos, adverts, and installations – all in their unmistakable signature style combining stop motion and live action, surrealist flourishes, and an eye for the macabre. Their new feature film, 20 years in the making, is an adaptation of The Sanatorium under the Sign of the Hourglass by the Polish author Bruno Schulz. And we’re delighted that the Brothers have curated a new season of titles for Klassiki subscribers, launching this Thursday 6th February.

Host Sam Goff sat down with the Brothers in their London studio, the Atelier Koninck, to discuss their long personal and creative relationship with Eastern Europe, from their student days in the 1960s to their latest film.  

Sanatorium Under the Sign of the Hourglass is screening at this year’s Kinoteka Film Festival: get your tickets here. Klassiki Picks with the Quay Brothers runs on the site from 13 February - 6 March. Sign up for a free 7-day trial at klassiki.online.

In this episode, we’re dipping back in to the archive of writing on the Klassiki Journal for an essay on the Soviet-Ukrainian director Larisa Shepitko, written and read by host Sam Goff. One of the most significant female filmmakers to emerge from the Soviet system, Shepitko’s career was cut short at the age of just 41 when she was killed in a car crash while location scouting for her fifth feature. Her surviving work reflects her experiences as a child of war and dislocation and remains vital to our understanding of the post-Soviet world.

Read the original piece here and make sure to explore our collection of classic Soviet titles. Sign up for a free 7-day trial at klassiki.online.

The films of Michael Powell and Emeric Pressburger are among the jewels in the crown of British cinema. One half of this national institution, Emeric Pressburger, was a Hungarian Jewish refugee – a background rarely commented on in discussions of the duo’s achievements. He brought Central European sensibilities to the British public – but how do we locate the Hungarian element in the Archers? 

This week, host Sam Goff welcomes back film historian and curator Ian Christie to the pod. Ian knew Pressburger at the end of his life and, along with the likes of Martin Scorsese, helped to kickstart the Powell and Pressburger revival in the late 1970s – so he was perfectly placed to discuss the life and times of this fascinating figure.

Subscribers can explore our own collection of classic Hungarian titles here. Sign up for a free 7-day trial at klassiki.online.

Artist, guru, witch, muse. The cinematic polymath Ester Krumbachová was an essential figure behind many of the classics of the Czech New Wave. But Krumbachová herself remains an elusive figure, marginalised in histories of female filmmaking.

In recent years, this has begun to change. Krumbachová’s sole directorial effort, the romantic parody Murdering the Devil, has been restored and screened worldwide. It’s coming to the UK this month, with three screenings as part of this year’s Borderlines Film Festival, in Hereford, Ludlow, and Malvern, and Klassiki subscribers can watch the restoration on the site now. Host Sam Goff sat down with writer and curator Rachel Pronger to discuss Krumbachová’s role in the Czech New Wave, her fall from grace, and what her work can teach us about feminist filmmaking today.

Get your tickets for the Borderlines Film Festival screenings of Murdering the Devil. Sign up for a free 7-day trial at klassiki.online.

In 2020, Belarus was rocked by mass protests following fraudulent presidential elections that returned autocratic leader Aleksandr Lukashenko to power. The new feature film from Belarusian-Polish director Mara Tamkovich, Under the Grey Sky, is based on the true story of a journalist, Kateryna Andreevna, who was arrested and charged with treason for broadcasting police brutality against protestors. Under the Grey Sky is screening across the UK now as part of this year’s Kinoteka Polish Film Festival.

This week on the show, host Sam Goff sits down with Mara to discuss the real life events behind her film, and to try and shed light on the situation in Belarus – a country in the grip of a brutal regime, and one that remains party to the war in Ukraine, but which is too often absent from conversations about the region. 

You can find information about screenings of Under the Grey Sky at this year’s Kinoteka Film Festival, both in London and on tour throughout the UK, on the festival site. Sign up for a free 7-day trial at klassiki.online.

2025 is the centenary year of Wojciech Jerzy Has – one of Poland’s greatest and most misunderstood filmmakers. A full retrospective of Has’s films is currently underway across the UK: from his surrealist masterpieces The Saragossa Manuscript and The Hourglass Sanatorium, to his never-before-screened shorts. To set the scene for this retrospective, host Sam Goff speaks with its curator, Polish film expert Michael Brooke, about Has’s peculiar place in Polish film history, his unique approach to literary adaptations, and the dreamworlds he conjured onscreen.

You can find information about all the Has screenings at this year’s Kinoteka Film Festival, both in London and on tour throughout the UK, on the festival site. Sign up for a free 7-day trial at klassiki.online.

“The godfather of American avant-garde cinema“, Jonas Mekas left his native Lithuania in 1944, and a few years later moved to New York. His friendships and collaborations with the likes of Andy Warhol, Allen Ginsberg, and Yoko Ono helped to consolidate the downtown art scene, and his impressionistic “diary films”, compiled from footage of his life that he obsessively shot on his handheld Bolex camera, have proved hugely influential on experimental film ever since. 

Mekas never lost sight of his native Lithuania, returning to themes of dislocation and home throughout his career. His work speaks to the cinema traditions of the Baltic region more broadly. His attachment to Lithuanian national culture produced controversy at the end of his life when questions were raised about his work under Nazi occupation in the 1940s. 

To untangle the question of Mekas, Lithuania, and the avant-garde, host Sam Goff speaks with Josh Polanski, a critic who specialises in cinema from the Baltic states. You can find Josh’s writing on Baltic film here, and explore our collection of films from the region here. Sign up for a free 7-day trial at klassiki.online.

We’ve reached the end of the third season of the show! Thank you to everyone who’s listened along so far. If you enjoy the show, please leave us a five-star review or a comment on your podcast app of choice. We’ll be back soon with more great shows – subscribe now so you don’t miss a thing.

At the end of April, we’ll be running our third annual partnership with the goEast Festival of Central and Eastern European Film. To preview this exciting season, host Sam Goff sits down with Heleen Gerritsen, who is stepping down in 2025 as director of the festival after eight years at the helm. 

Heleen has been at the forefront of curating Eastern European film during a turbulent and tragic period for the region. She shares her perspectives on how to engage with the new realities facing filmmakers and film lovers, highlights goEast’s retrospective of the Indigenous filmmaker Anastasia Lapsui, and selects some of her favourite discoveries from her time at the festival.

Klassiki’s partnership with goEast runs from 24 April - 22 May. Sign up for a free 7-day trial at klassiki.online.

For this episode, we’re dipping back in to the archive of writing on the Klassiki Journal for an essay on the Slovak maestro of the macabre, Juraj Herz, written and read by Sam Goff. Best known for his controversial and politically charged 1969 horror film The Cremator, Herz remains the great outsider of the Czech New Wave – a Holocaust survivor who mined his personal trauma to produce some of the most striking gothic visions to be found anywhere in communist-era cinema.

Read the original piece here and make sure to explore our collection of classic Czech and Slovak titles. Sign up for a free 7-day trial at klassiki.online.

This week, Klassiki is launching a new collection of Russian documentaries, exploring life in the country as repressions continue to intensify and the war on Ukraine stretches into its fourth year.

On the podcast this week, we’re highlighting another recent documentary that deserves wider attention – Masha Chernaya’s The Shards, which won best film at the DocLisboa festival last year. Shot in a raw, DIY style during the first months of the war, the film sees Chernaya and her cohort reflecting on a homeland that has changed beneath their feet. We see glimpses of underground culture, from raves to fight clubs, as well as an intimate exposure to personal tragedy as the filmmaker’s mother battles against cancer. Host Sam Goff sits down with Chernaya to explore about how she went about documenting the world around her and how she balanced the personal and political struggles she encountered on the way.

Our new season of Russian documentaries launches on Klassiki this Thursday 3 April. Find out more here. Sign up for a free 7-day trial at klassiki.online.

Welcome back! We’ve made it to season four of the Klassiki Podcast. We’re kicking off with a return guest: one of our very favourite filmmakers, Radu Jude. After the success of last year’s gig-economy satire Do Not Expect Too Much from the End of the World, Radu is back in 2025 with not one but two new films: Kontinental ‘25, an homage to Roberto Rossellini’s classic morality tale Europa ‘51, and what promises to be an unmissable take on the Dracula legend – watch out for that one arriving soon.

Host Sam Goff sat down with Radu to discuss Transylvania, fascism, vampires, and TikTok. Listen to our previous episode with Radu here – and check out a selection of his brilliant shorts on Klassiki now.

Sign up for a free 7-day trial at klassiki.online.

The cinema of communist Romania rarely gets a look in compared with the 21st-century New Wave of Cristi Puiu, Radu Jude, and co. At Klassiki we’ve just launched a new collection of classic Romanian titles from the 1960s and '70s that tries to redress the balance. From wartime epics to New Wave romance and subversive satire, these films reveal a different side of Romanian film and set the scene for contemporary favourites. 

This week, host Sam Goff sits down with critic and programmer Flavia Dima to discuss this history and talk in depth about the four titles in our new collection.

Watch these Romanian classics on Klassiki now and read Flavia’s writing on the period here. Sign up for a free 7-day trial at klassiki.online.

This week we’re trying something new on the pod: the first edition of the Klassiki Kino Club. We wanted to find a way of championing our ever-growing library of films with our listeners. So we asked a friend of the show to pick a title available on Klassiki that they had never seen before to watch for the first time – and then to jump on a call to offer their reactions and reflections. 

Joining us today is Alisa Goruleva, a Russian film critic and researcher based in Berlin who’s recently been writing some wonderful pieces for the Klassiki Journal. Her choice of film was Confidence (1980) by Hungary’s István Szabó. Alisa and host Sam Goff get into the film’s take on gendered power dynamics and its depiction of a world at war.

Watch along with us on Klassiki now! Make sure to check out Alisa’s writing over on the Klassiki Journal, and leave us a review to let us know which films you’d like us to tackle next in the Kino Club. 

Sign up for a free 7-day trial at klassiki.online.

For this episode, we’re dipping back in to the archive of writing on the Klassiki Journal. Today, host Sam Goff reads an essay about the work of one of Baltic cinema’s great innovators, Rolands Kalniņš, aka the Latvian Godard, whose playfully political films staged a colourful protest against Soviet occupation. This piece was written by friend of the show Joshua Polanski, a critic specialising in Baltic film who listeners may remember from our episode in season three about Jonas Mekas.

Read the original piece here and read more from Joshua on Baltic film on his site. And make sure to explore Klassiki’s collection of titles from the Baltic states. Sign up for a free 7-day trial at klassiki.online.

For this episode, we’re dipping back in to the archive of writing on the Klassiki Journal. Today is the seventieth birthday of one of the true greats: Béla Tarr, Hungary’s maestro of slow cinema melancholy. So, to celebrate, host Sam Goff is reading from our companion to the life and times of this icon of eastern European film – from his early days as a schoolboy anarchist to his position as a grandee of world cinema.

Read the original piece here and make sure to explore our collection of Hungarian titles. Sign up for a free 7-day trial at klassiki.online.

2025 is the centenary year of one of Soviet cinema’s true greats: Marlen Khutsiev, whose films from the fifties and sixties captured the excitement of the post-war years. If there was such a thing as the Soviet New Wave, then Khutsiev was its beating heart. In films like I Am Twenty and July Rain, he borrowed from the neorealists in Italy and iconoclasts in France to depict a society on the brink of transformation. 

To celebrate Khutsiev in his 100th year, host Sam Goff is joined by Boris Nelepo, programmer, critic, and Co-Head of Programming at the DocLisboa Film Festival, who befriended the filmmaker at the end of his life. 

Watch Khutsiev’s classic films I Am Twenty and Spring on Zarechnaya Street on Klassiki now and read Boris’s tribute to his friend here.

Sign up for a free 7-day trial at klassiki.online.

Critic, researcher, and friend of the show Alisa Goruleva is back on the pod this week for the second edition of the Kino Club, our watch-a-long exploration of Klassiki’s ever-expanding catalogue. Host Sam Goff asked Alisa to pick another film from our library that she hadn’t seen before to discuss. This time around, she plumped for Andrzej Munk’s 1958 war satire Eroica, a cynical deconstruction of the myths of military heroism. 

Alisa and Sam discuss Munk’s tragically short career, his place among the titans of post-war Polish film, and Eroica’s blend of black humour, despair, and disillusioned humanism.

Watch along with us on Klassiki now! Make sure to check out Alisa’s writing over on the Klassiki Journal, and leave us a review to let us know which films you’d like us to tackle next in the Kino Club. 

Sign up for a free 7-day trial at klassiki.online.

This week, we’re launching the latest edition of Klassiki Picks, our series of watchlists curated by our friends in the world of cinema and eastern Europe. In this hot seat this time around is prolific British artist and filmmaker Ben Rivers, whose latest feature, the post-apocalyptic tale Mare’s Nest, premieres in competition at the Locarno Film Festival this week. With that in mind, Ben has picked a fascinating quartet of titles for Klassiki: four films that explore the end of the world, whether literal or metaphorical, featuring sci-fi weirdness, nuclear paranoia, and the threat of social collapse.

Host Sam Goff sat down with Ben to discuss the appeal of this End Times cinema, the unique nature of eastern European sci-fi, children on film, and the enduring influence of Aleksandr Sokurov on his work. 

Make sure to explore Ben’s Klassiki Picks, available to subscribers from 7 August. 

Sign up for a free 7-day trial at klassiki.online.

For this episode, we’re dipping back in to the archive of writing on the Klassiki Journal for a profile of the great Estonian actor Jüri Järvet – a cult hero of Soviet and Baltic film who overcame family trauma as a young man before bursting onto the international scene in the 1970s. In the space of just a few years, Jarvet helped to modernise Estonian cinema, worked with Tarkovsky, and played King Lear to huge critical and popular acclaim. Despite this, his story is not well known in the West.

Read the original piece here and watch Järvet’s classic turns in Madness and Dead Mountaineer’s Hotel. Sign up for a free 7-day trial at klassiki.online.

We’ve reached the end season four! Thank you as always for listening along. We’ll be back in the autumn, so look out for that and make sure you’re subscribed in your podcast app of choice so you don’t miss out.

In the meantime, we want to hear from you. Do you have questions, comments, complaints, or suggestions for the show? You can now email them to us at podcast@klassiki.online. Get in touch ahead of the new season.

We’re closing out season four with a look at a fascinating and misunderstood part of Ukraine: the Donbas. This resource-rich region in the east of the country was celebrated as the industrial heartland of the Soviet Union, but since 2014 has become synonymous with destruction and war after more than a decade of Russian aggression and occupation. It’s a region that has been subject to much controversy, within Ukraine as well as internationally, but its vibrant and diverse history is too often overlooked.

It’s this history that Victoria Donovan has set out to capture in her fantastic new book, Life in Spite of Everything: Tales from the Ukrainian East. Victoria draws on her extensive travel and research in Donbas to move past the clichés and give a human perspective on events. Host Sam Goff sat down with her to discuss the book, and to explore how film has been used and abused in creating an image of the region.

We’ve put together a playlist of some of the films discussed in this episode for Klassiki subscribers, which you can find here.

Buy Life in Spite of Everything: Tales from the Ukrainian East here.

Read an interview with Freefilmers here and explore their recent work here.

Explore documentary material from the Donbas in the Urban Media Archive here.

Sign up for a free 7-day trial at klassiki.online.

Welcome back! It’s season five of the Klassiki podcast. We’ve got ten more great episodes lined up for you, featuring some exciting interviews, historical deep dives, and a Halloween special later this month. In the meantime, get in touch with us at podcast@klassiki.online. 

We’re kicking things off with some science fiction. Boris and Arkady Strugatsky were brothers who dominated postwar Soviet sci-fi with their philosophical, subversive, and hugely popular novels and short stories. The Strugatskys also had a second life on screen, collaborating with a wide array of directors on adaptations of their work – most famously Andrei Tarkovsky’s Stalker. You can’t really understand eastern bloc sci-fi without the Strugatsky Brothers. But who were they, where did their remarkable visions come from, and why have their proven so appealing to so many filmmakers? 

To answer these questions, host Sam Goff speaks with Marat Grinberg,​Professor of Russian and Humanities at Reed College, who’s written extensively on Soviet sci-fi and the Jewish experience under communism. They discuss the Strugatskys’ traumatic childhoods, the ways their work has been transformed by directors from the 60s to the Putin era, and how their Jewishness informed their work. 

Subscribers can watch two Strugatsky adaptations on Klassiki now: Aleksandr Sokurov’s Days of Eclipse and Grigori Kromanov’s Dead Mountaineer’s Hotel. 

Sign up for a free 7-day trial at klassiki.online.

The 69th edition of the London Film Festival has just rolled through the capital’s cinemas, bringing a host of filmmaking talents in its wake. Sam headed down to the festival press circuit to speak to two directors in town with their latest films. First we hear from North Macedonia’s Teona Strugar Mitevska, who has been a shining light of Balkan filmmaking for over 20 years. Her latest film is perhaps her most ambitious yet: Mother, a punkish take on Mother Teresa starring Noomi Rapace, which had its premiere in Venice this summer.

Then we catch up with acclaimed Iranian director Sharham Mokri, who travelled to neighbouring Tajikistan for his latest film, Black Rabbit, White Rabbit, which screened in competition in London. With the help of interpreter Iante Roach, Shahram and Sam discussed the deep links between Iranian and Tajik cinema – including how jumping between the two countries can help filmmakers from both to avoid growing censorship at home. 

Read our interview with Teona on her previous film 21 Days Until the End of the World here.

Read Tajik filmmaker Anisa Sabiri on the influence of Iranian cinema in Tajikistan here. 

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As every film fan knows, October is horror season. And while eastern Europe these days is full of horror filmmakers who can mix it with the best of them, this wasn’t always the case: under communism, the genre often struggled to get past state censors. But the idea that there was no horror produced behind the Iron Curtain is a myth. There was in fact a rich tradition in the sixties and seventies, drawing on national folklore, literary sources, and the region’s traumatic recent history to chilling effect. On Klassiki, you can currently stream a Halloween double header of cult classic Soviet films. Viy, by Konstantin Yershov and Georgi Kropachyov, is famous among genre fans as the greatest of all Soviet horror titles, while Valeri Rubinchik’s The Savage Hunt of King Stakh is a criminally under-seen gothic gem from Belarus. 

In the spirit of the season, this week Sam speaks with Miriam Balanescu, a film writer and critic with a special interest in all things ghoulish. They discussed the horror history of countries like Poland and Czechia, the political subtext of genre filmmaking under communism, and what ‘folk horror’ meant in the Soviet context. 

Don’t miss our Halloween double header, now showing on Klassiki.

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This week, we’re reopening the Klassiki Kino Club, our watch-along exploration of Klassiki’s ever-expanding catalogue. In the hot seat this time around is Ally Pitts, host of the long-running Russian and Soviet Movies Podcast and confirmed Eastern European film aficionado. Ally’s choice comes from Azerbaijan: Orkhan Aghazadeh’s 2024 documentary The Return of the Projectionist, a portrait of cinephilia and friendship across generations. 

Ally and host Sam Goff get into Aghazadeh’s playful blend of observation and performance, the state of cinema in the post-Soviet space, and how to make a nostalgic film without being sentimental.  

Watch along with us on Klassiki now! Subscribers will also find our exclusive video interview with Aghazadeh. Check out Ally’s podcast here.

Get in touch: podcast@klassiki.online.

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14 years after her previous feature, Julia Loktev is back with a monumental new documentary project. My Undesirable Friends is her collective portrait of some of the last independent journalists working in Russia in the run-up to, and aftermath of, the full-scale invasion of Ukraine in February 2022. Part One, titled Last Air in Moscow, was shot entirely on iPhone during Loktev’s trips to the Russian capital. Over more than five immersive hours, we follow journalists from the TV channel Rain and other oppositional outlets as they struggle to keep pace with Russia’s descent into the abyss, from labelling journalists as “foreign agents” to outright assault and arrest.

Host Sam Goff sat down with Julia to find out how the film evolved over time, the relationship between her work in fiction and documentary, and where she’s at with Part Two of the project, entitled Exile, which follows our journalist protagonists after they are forced to flee Russia.

Last Air in Moscow is currently screening in select locations across the US. Find your nearest screening here.

Get in touch: podcast@klassiki.online.

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Central Asia remains a great blindspot for many Western cinephiles – so we were thrilled to hear about an upcoming season in New York, hosted by the Asia Society in partnership with Anthology Film Archives. Eastern Notions is a celebration of the great Uzbek director Ali Khamraev, one of the true masters of Central Asian cinema, with more than 20 features in a career stretching back to the 1960s. Running from 20-23 November, the season highlights five of Khamraev’s fiction films, with the great man making a rare appearance in the States to attend in person.

To mark the occasion, host Sam Goff spoke with the season’s curator Inney Prakash about Khamraev’s diverse body of work, his relationship with more famous Soviet icons like Andrei Tarkovsky and Sergei Parajanov, and the question of curating Central Asian film. 

Listeners in New York, don’t miss out: Eastern Notions runs from 20-23 November at Asia Society and Anthology Film Archives. 

Read our 2021 interview with Ali Khamraev for further insight into his long and fruitful career. 

Klassiki subscribers can watch Khamraev’s poetic and autobiographical film I Remember You on the site now.

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For this episode, we’re dipping back in to the archive of writing on the Klassiki Journal for a profile of the great Romanian director Lucian Pintilie, whose provocative, modernist work bridges the gap between communist-era filmmaking and the New Wave that has defined Romanian cinema in the 21st century. Subject to censorship and exile, Pintilie returned to his homeland in the 1990s to cement his legacy and influence a new generation of directors.

Read the original piece here and make sure to check out Pintilie’s classic satire Reconstruction as well as our collection of classic Romanian titles.

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Listeners may remember our conversation earlier this year with Michael Brooke celebrating the centenary of Wojciech Has – one of Poland’s greatest and most misunderstood directors. We’re taking one last opportunity to honour Has’s hundredth anniversary year: right now until Christmas Day, subscribers can enjoy a restored version of his mind-bending masterpiece The Saragossa Manuscript. Adapted from a founding classic of Polish literature, the film presents a surreal odyssey across time and space that nests stories within stories to baffling and hypnotic effect. 

To unpack the film, Sam invited old friend of the show, film writer and historian Ian Christie, to join him in deciphering the Manuscript: from the source novel to the film’s daring formal tricks, its place in sixties counterculture, its long critical re-evaluation, and its profound influence on everyone from Luis Buñuel to David Lynch. 

Watch The Saragossa Manuscript on Klassiki until 25th December. 

Listen to our episode on the life and times of Wojciech Has here.

Read Daniel Bird’s essay on Has’s surreal literary adaptations here.

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Friend of the show Alisa Goruleva is back on the pod this week for the latest edition of the Kino Club, our watch-a-long exploration of Klassiki’s film catalogue. As always, host Sam Goff set Alisa the task of picking a title from our library that she hadn’t seen before to discuss. Her choice this time around was very fitting: An Unusual Exhibition, the 1968 comedy of artistic frustration by the great Georgian filmmaker Eldar Shengelaia, who sadly passed away in August of this year. 

Alisa and Sam pay tribute to Shengelaia before exploring the film’s strange blend of tones, its disorienting narrative style, and its treatment of the eternal figure of the downtrodden artist. 

Watch along with us on Klassiki now! Subscribers will find a host of bonus materials that we put together as part of our celebration of Shengelaia’s 90th birthday a few years ago – including an interview with the great man himself.

Get in touch: podcast@klassiki.online.

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