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by Klassiki
Delve into the wide world of Eastern European film with the Klassiki Podcast. Featuring interviews, roundtable discussions, recorded essays, and more, we take you beyond the headlines to explore the past, present, and future of this fascinating region. Sign up to Klassiki today to gain access to our ever-evolving library of classic and contemporary titles, as well as filmmaker interviews, video essays and introductions, programme notes, and much more.
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Long time listeners of the show will be familiar with the film historian Ian Christie, who’s joined us to discuss topics ranging from Aleksandr Sokurov to Powell and Pressburger, the Soviet avant-garde to The Saragossa Manuscript. His new book, The Most Important Art: Exploring the Hidden Histories of Russian and Soviet Cinema, collects writings and interviews from decades of pioneering work on subjects ranging from the silent era to contemporary figures like Andrei Zvyagintsev. Ian spent the final years of the Soviet era travelling back and forth to the USSR, witnessing the social and cultural revolution that was unfolding and befriending many of the leading figures in the film industry. This week, host Sam Goff invites Ian back on the pod to reflect on those experiences and to share his memories of encounters with artists like Andrei Tarkovsky, Kira Muratova, Elem Klimov, and many more. The Most Important Art: Exploring the Hidden Histories of Russian and Soviet Cinema is on sale now from Sticking Place Books. Klassiki subscribers can explore a special watchlist featuring many of the films that Ian discusses on this episode here. Get in touch: podcast@klassiki.online. Sign up for a free 7-day trial at klassiki.online.
Renowned in his native Georgia as one of the nation’s greatest filmmakers, Otar Iosseliani spent the majority of his career in his adoptive home of France after emigrating in the early eighties. The news that Cinema Guild will be releasing a slate of restorations has occasioned an extensive retrospective in New York, where audiences can acquaint themselves with the director’s bustling long takes, mordant satire, and anarchic sympathy for the drunks, losers, and misfits of both Soviet communism and western capitalism. Otar Iosseliani: Fables of Modern Life opens this week at Asia Society before heading over to Metrograph, and we’re delighted to say that Klassiki will be co-presenting the programme at both venues. This week, host Sam Goff speaks with Edo Choi, Film Programmer at Metrogaph, and Inney Prakash, Curator of Film at Asia Society, about the retrospective and Iosseliani’s unique cinematic sensibility, which bears comparison with directors from Jacques Tati to Jean-Luc Godard, and even the Safdie Brothers. Fables of Modern Life kicks off at Asia Society on 24 and 25 July, then continues at Metrograph from the 8 to the 23 August. Klassiki subscribers can watch a double bill of Iosseliani titles on the site from this Thursday 23: his debut feature Falling Leaves, and the French farce Farewell, Home Sweet Home. Get in touch: podcast@klassiki.online. Sign up for a free 7-day trial at klassiki.online.
We have a bonus episode for you this week. Host Sam is in Yerevan, Armenia, attending the Golden Apricot International Film Festival – always a highlight of the year for us here at Klassiki. The festival is renowned for its championing of films from the Caucasus and Near East, and for its engagement with the Armenian diaspora. Sam took the opportunity to sit down with Savina Petkova and Flavia Dima –two of our favourite critics (and Klassiki Podcast alumni) – to discuss some of the films they’ve caught so far, including Marlene Edoyan’s A Fire There, Comes Chahbazian’s Here, Elsewhere, and Inna Sahakyan’s Outliving Shakespeare, as well as Pawel Pawlikowski’s Cannes-approved Fatherland, starring Sandra Hüller. You can read a selection of reviews from Golden Apricot’s Critics’ Campus here. We’ll be publishing more from Yerevan on the Journal over the next few days, so keep your eyes peeled. Get in touch: podcast@klassiki.online. 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 Romanian director Corneliu Porumboiu. The most elusive of the founding fathers of the Romanian New Wave, Porumboiu’s postmodern comedies play on questions of language and identity. Nowhere is this more apparent than in his crime dramas, Police Adjective and The Whistlers, where genre thrills undergo playful revisions to the point of absurdity. As Porumboiu completes work on his first feature in seven years, there’s never been a better time to take a closer look at his deceptively playful films. Read the original piece here and watch Porumboiu’s gangster film The Whistlers on Klassiki for the next month, until 13 August only. Get in touch: podcast@klassiki.online. Sign up for a free 7-day trial at klassiki.online.
We’re a few weeks into season seven, so it’s about time to open up the Kino Club, our watch-along exploration of the Klassiki catalogue. For this edition, I spoke with one of our favourite critics, Botagoz Koilybayeva, who’s written for the Klassiki Journal among many other outlets. As always, we asked Botagoz to pick a film from our library that she hadn't seen before, watch it, then jump on a call to discuss. Her pick was Tough Kids, the 1983 social drama about teen delinquency and redemption by the sorely underrated Soviet director Dinara Asanova. Botagoz and host Sam Goff get into Asanova’s tragically short career and her controversial working methods, as well as the social and emotional undercurrents of her filmography. Watch along with us on Klassiki now! And make sure to check out Botagoz’s writing on Ali Khamraev and the politics of contemporary Kazakh film. Get in touch: podcast@klassiki.online. Sign up for a free 7-day trial at klassiki.online.
Russian documentary has been in the limelight following the Oscar win for Mr Nobody Against Putin earlier this year. The film consists of footage covertly shot by videographer Pasha Talankin inside the school where he worked, capturing how the militarisation of the modern Russian state makes itself felt in the classroom. Mr Nobody raises important questions about the ethical and logistical challenges of non-fiction filmmaking in wartime Russia – but its profile risks overshadowing a rich documentary tradition. In their new edited volume The New Russian Documentary: Reclaiming Reality in the Age of Authoritarianism, scholars Masha Shpolberg (Bard College) and Anastasia Kostina (Columbia) argue that in the face of growing repression, the 21st century has actually seen a boom in Russian non-fiction cinema: from new film schools and festivals to formal experimentation and theoretical debates, inspired by a desire for objectivity in the face of media manipulation from an increasingly coercive regime. This week, host Sam Goff welcomes Masha and Anastasia onto the pod to discuss the history and the role of documentary film in Putin’s Russia. Check out Masha’s and Anastasia’s book here. Explore our collection of contemporary Russian documentaries here. Get in touch: podcast@klassiki.online. Sign up for a free 7-day trial at klassiki.online.
Last week saw the 124th anniversary of Boris Barnet, one of the most influential filmmakers of the Soviet Union. In Europe, Barnet’s lyrical and humanistic cinema has long been canonised – but in the English-speaking world, he was until recently a more acquired taste. That’s changed in recent years: there have been major retrospectives in Chicago and New York, and our friends at Outskirts Magazine (which is named after one of Barnet’s most beloved pictures) published a fantastic dossier on his work in their first issue. To understand this shift, this week host Sam Goff speaks with Boris Nelepo, who listeners might remember from our episode last year on Marlen Khutsiev. Boris is a programmer and critic from Moscow now based in Lisbon, where he is Co-Head of programming at the DocLisboa International Film Festival. Sam and Boris take on the long, difficult sweep of Barnet’s career, which stretched from silent comedies to wartime thrillers and sixties road movies, touching on the utopian spirit of his films and the loneliness that contributed to his tragic early death from suicide in 1965. Watch Boris Barnet’s films Girl with a Hatbox and Outskirts on Klassiki now. Read Boris Nelepo’s writing on Barnet here. Get in touch: podcast@klassiki.online. Sign up for a free 7-day trial at klassiki.online.
Welcome back to season seven of the Klassiki Podcast! We’ve got ten more episodes coming up for you on the past and present of eastern European film, including some reporting from the summer festival circuit and a very exciting screening series coming up for our American friends. Subscribe now to make sure you don’t miss an episode. One of the highlights of last month’s Cannes festival was the long-awaited return of German filmmaker Valeska Grisebach, who took home the Jury Prize for The Dreamed Adventure, which arrives nine years after her previous feature Western. The Dreamed Adventure sees the director return to Bulgaria, Grisebach crafting a brilliant subversion of her genre influences with the story of Veska, a female archaeologist who gets tangled in the criminal underworld of her small border town. Host Sam Goff sits down with Valeska Grisebach to discuss her attachment to Bulgaria, her understanding of gender and genre, and the incredible real life stories that informed her unique take on the gangster film. Get in touch: podcast@klassiki.online. Sign up for a free 7-day trial at klassiki.online.
Delve into the wide world of Eastern European film with the Klassiki Podcast. Featuring interviews, roundtable discussions, recorded essays, and more, we take you beyond the headlines to explore the past, present, and future of this fascinating region. Sign up to Klassiki today to gain access to our ever-evolving library of classic and contemporary titles, as well as filmmaker interviews, video essays and introductions, programme notes, and much more.
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