The Klassiki Podcast

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. 

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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: [email protected].

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We’ve reached the end of season six. Thank you to all our subscribers and listeners old and new. We’ll be back in the summer – but in the meantime, don’t forget to subscribe so you don’t miss an episode, and please leave us a review and a five-star rating. Thank you!

For this final episode, we’re dipping back in to the archive of writing on the Klassiki Journal for an essay on one of the masterpieces of Polish cinema: Krzysztof Kieślowski’s monumental Dekalog. Ten hour-long films inspired by the Ten Commandments, all set in the same Warsaw tower block complex, this intimate epic of everyday life arrived at the end of the communist era and asked penetrating questions about the spiritual and material direction of Polish society as transformation loomed.

Read the original piece here and watch Kieślowski’s Dekalog spin-off feature A Short Film about Love on Klassiki now. 

Find out more about Poland in the eighties with our companion piece and explore Kieślowski’s career here.

Get in touch: [email protected] 

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This week, cinema audiences in London are getting the rare chance to see a selection of films by the great Armenian filmmaker Artavazd Pelechian as part of the Open City Documentary Festival. Pelechian’s work, described by Serge Daney as “a missing link in the true history of the cinema”, cuts across documentary, fiction, and essay film, exploring national and natural history, socialist labour, biblical symbolism, and technological progress and catastrophe. 

The Pelechian programme at Open City has been put together by an old friend of Klassiki: Sona Karapoghosyan, a program curator at Yerevan’s Golden Apricot Film Festival. So this week, host Sam Goff asked Sona to join him in introducing the poetic world of Pelechian’s films.

Interstitial Cinema: the films of Artavazd Pelechian, screens over two consecutive nights this week at the Institute of Contemporary Arts in London: Tuesday 14th and Wednesday 15th. Find all the information you need, book tickets, and read an essay by Sona here.

Get in touch: [email protected].

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It’s been a while since we opened up the Kino Club, our watch-along exploration of Klassiki’s ever-expanding catalogue. We’re putting that right this week with a brand new guest: critic, programmer, and teacher Savina Petkova. As always, we asked Savina 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 Getting to Know the Big Wide World, the 1978 construction site romance by the inimitable Kira Muratova. 

Savina and host Sam Goff find plenty to admire in Muratova’s unique approach to love triangles, cinematic mirrors, and the beauty of the building site. 

Watch along with us on Klassiki now! Subscribers can also check out Muratova’s early films Brief Encounters and The Long Farewell on the site. You can find more from Savina here.

Get in touch: [email protected].

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Last week we launched 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 British filmmaker Peter Strickland, director of The Duke of Burgundy, Berberian Sound Studio, and In Fabric, among other weird and wonderful titles. Peter has a special link to the world of Eastern European film: after a number of years living in Slovakia and Hungary, he burst onto the international stage in 2009 with his feature debut Katalin Varga, shot in Transylvania on a tiny, self-financed budget.

Peter has curated a selection of five titles for Klassiki that reflect his personal and professional history in the region. He sits down with host Sam Goff to talk about his time living and working in Slovakia and Hungary, and his picks, which include Sergei Parajanov’s Shadows of Forgotten Ancestors, the children’s animations of Czech trailblazer Hermína Týrlová, Péter Gothár’s cult Hungarian satire The Outpost, and two Slovak films that explore the place of the church in authoritarian regimes: Štefan Uher’s New Wave gem The Organ, and Ivan Ostrochovský’s chilly political parable Servants.

Make sure to explore Peter’s Klassiki Picks, available to subscribers until 23 April. 

Get in touch: [email protected].

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When it comes to Central and Eastern European film, few movements loom larger than the Czechoslovak New Wave. Emerging in a period of political liberalisation and protest, the New Wave produced formally and politically audacious films before the so-called Prague Spring was crushed by a Soviet invasion in 1968. 2026 marks 60 years since the release of canonical films like Věra Chytilová’s Daisies, Jiří Menzel’s Closely Observed Trains, and Jan Němec’s A Report on the Party and Guests. 

But what exactly does the New Wave mean after all this time? Which names get left out of the conversation? What happened after the Prague Spring? And what about the often overlooked Slovak aspect of this Czechoslovak phenomenon? 

To try and answer some of these questions, this week host Sam Goff speaks with Prague-based writer and programmer Christopher Small, co-founder and co-editor of the wonderful Outskirts Film Magazine, and an editor and writer for the Locarno Film Festival.

Make sure to check out Outskirts Film Magazine and Podcast.

Explore Klassiki’s collection of Czech and Slovak titles here.

Over on the Journal, we’ve got you covered for more writing on the New Wave, Věra Chytilová, Ester Krumbachová, and Juraj Herz.

Get in touch: [email protected].

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This week sees the return of one of the highlights of London’s cinematic calendar: BFI Flare, the largest LGBTQ+ film festival in Europe. One of the world premieres this year is To Dance is to Resist, a new documentary from German filmmaker and musician Julian Lautenbacher. Julian has spent five years travelling to Ukraine to document the personal and professional lives of Jay and Vol’demar, dancers in Kyiv’s vibrant underground queer club scene. His film captures a couple and a community finding their way through wartime hardship, juxtaposing striking scenes of dance performance with domestic portraits and visions of a capital city under attack.  

Ahead of the festival, host Sam Goff spoke with Julian about his experiences working in Kyiv, the idea of dance culture as a form of resistance during invasion, and the cultural connections and contrasts between Germany and Ukraine. 

Get tickets for screenings of To Dance is to Resist on 28 and 29 March here.

BFI Flare runs from 18-29 March. Explore the festival programme here.

Explore Klassiki’s queer film collection here. 

Get in touch: [email protected].

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For many cinephiles, the Central Asian states remain something of a blind spot. A case in point is Uzbekistan, whose film industry stretches back to the silent era, but which rarely comes on our radar in the Anglophone world. 

To provide some insight into what it’s like to do the work in this part of the world, this week host Sam Goff speaks with Julia Shaginurova. Julia, together with her partner Michael Borodin, is at the heart of efforts to build an independent film culture in Uzbekistan. She’s a producer, writer, and advocate and a co-founder of the Tashkent Film School. She also helps to run Women Watch Uzbekistan, a programme to encourage female filmmakers in the country. 

Julia tells us about the challenges and opportunities for independent filmmakers and audiences in Uzbekistan, from funding to censorship and more, as well as the situation in Central Asia more broadly.

Find out more about the Tashkent Film School here.

Watch Michael Borodin’s film Convenience Store on Klassiki now and read our interview with the director here.

Get in touch: [email protected].

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This week sees the one hundredth birthday of Andrzej Wajda, the grand old man of Polish cinema. Until 26 March, Klassiki subscribers can watch Wajda’s epochal double header Man of Marble and Man of Iron, about the history of worker resistance in communist Poland, alongside two of his great literary adaptations: Siberian Lady Macbeth and The Promised Land. 

With a career running from the 1950s until the 2010s, it can be hard to know where to start with Wajda – but one thread running throughout his filmography is an exploration of Poland’s troubled modern history: from the 19th century through the trauma of the war and the communist era that followed. To dig a little deeper into Andrzej Wajda’s history lessons, host Sam Goff is joined once again by Owen Hatherley – Eastern European architecture expert and Polish film and history aficionado – to discuss some of Wajda’s recurring themes and the highs (and lows) of his national history on film.

Watch our two-part Wajda tribute: Men of History and Literature on Film.

Read our essay on Wajda’s career and check out a watchlist of his films on the Klassiki Journal. 

Get in touch: [email protected].

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