What is cinEASTa?

Cineasta is the first online magazine of Central and East European film in Spain. It’s a unique space reserved for reflection, essays, historical research and an open dialogue about the cinematographies of the 22 countries whose cultures are represented by the Casa de l’Est.

The journal also examines the films whose themes or motives, irrespective of the country of production, refer to one or more Central or East European states, as well as the work of the internationally acclaimed directors who were born in that cultural sphere and/or dedicated a part of their careers to it.

The first issue of Cineasta features three main sections: the Interviews, the Essay and the Mirror. There is also a separate news section.

We have talked to contemporary film-makers from various parts of Europe, who have developed unique personal poetics. Milutin Petrović’s eclectic and parodic films stem from the postwar Serbia-Montenegro, grappling with political transition. Fred Kelemen’s work follows the tradition of the modern European cinematography, so it cannot be limited to one geographical centre. German-born, he has also been shooting in Portugal, Poland, Hungary and Latvia. The readers also have an opportunity to find out more about the veteran Estonian documentarist Mark Soosaar.

The Essay section covers a variety of topics, analyzing the films by the world-renown authors. Such is the article Black cat, white cat: Emir Kusturica’s another great parable by José María Caparrós Lera, or A self-portrait and a documentary warning by Mercè Ibarz, offering her interpretation of I’m so-so…, an unusual documentary about the famous Polish director Krzysztof Kieślowski. Roman Polanski: Before and after the exile by Carlos Giménez Soria analyzes the Polish stage of Polanski’s work, before his career took on its long international trajectory. Daniel Seguer’s A scream at the world tackles the New Wave (Nova Vlna) in the Czech cinematography of the 60s from a historical point of view. This section also features Eckard Stein’s interesting insights into the Calendar by Atom Egoyan. Stein helped produce this movie about the Armenian diaspora and identity.

Speaking about the Central and East European cinematography also means doing research on its history and the impact of its reception, which makes an interesting topic to ponder, having in mind the political polarizations in Europe before and after the Cold War. The Mirror section offers Natalia Kharitonova’s analysis of the USSR films reception in the Catalan press in the 1930s, and Joaquim Romaguera i Ramió’s research on how the Franco’s Spain Cineclubs helped promote the films produced on the other side of the so-called Iron Curtain.

We hope the first issue of Cineasta brings new perspectives to the Catalan, Spanish and European readers who like the Central and East European films and want to know more about them. The editorial staff welcomes the readers’ comments and suggestions.


SAŠA MARKUŠ
Editor-in-chief