Klassiki, 31d Arundel Gardens, London (2026)

12/06/2026

📖 𝗟𝗼𝗼𝗸𝗶𝗻𝗴 𝗳𝗼𝗿 𝗮 𝘄𝗲𝗲𝗸𝗲𝗻𝗱 𝗿𝗲𝗮𝗱? 📖

Christine Haroutounian’s AFTER DREAMING (2025) is a dreamlike road trip across an Armenia scarred by war. A remarkable debut feature from the Los Angeles-born filmmaker, which premiered in the Berlinale’s Forum sidebar and co-produced by Carlos Reygadas, the film reflects obliquely on the traumas of the Nagorno-Karabakh conflict – and the ethnic cleansing of Artsakh.

Our friends at the Armenian Film Society London are screening After Dreaming at London’s Institute of Contemporary Arts on Tuesday 16 June, featuring a Q&A with Christine Haroutounian. Ahead of that screening, Klassiki Editorial Director Sam Goff spoke with Haroutounian about her intuitive approach to filmmaking, the cosmic inspirations behind her work, and the tension between destruction and creation in militarised societies.

As she says: “In our vapid culture where we are inundated with images, why is it that more and more people are incapable, or even intolerant, of reading images in cinema? They want the story to tell them the meaning. The aesthetics are beside the story. But to me, the image is the narrative..”

You can read Sam's entire interview on the journal: https://klassiki.online/journal/

11/06/2026

There’s still time to explore our latest collection, Women with Movie Cameras, celebrating four iconic female filmmakers from Eastern Europe: from Kira Muratova in Ukraine to Lana Gogoberidze in Georgia.

When you’ve paid tribute to these trailblazers, why not check out some of their contemporary counterparts available in the Klassiki catalogue?

ZHALEIKA (2016) , Eliza Petkova’s debut film which premiered at Berlinale, was highly praised on the international festival circuit for its striking, aesthetic imagery and its intimate camera work and is a proven Klassiki audience favourite (pictured). Ralitza Petrova shook Bulgarian cinema to its core a decade ago when she won at Locarno with GODLESS (2016), a portrait of a nation in spiritual decline. Salomé Jashi has become famous for standing up to the oligarchy in Georgia with her film TAMING THE GARDEN (2023) – her breakthrough documentary THE DAZZLING LIGHT OF SUNSET (2016), meanwhile, captures the ambitions and frustrations of her country’s rural residents. Lithuania’s Austėja Urbaitė announced herself as one of the Baltic states’ hottest talents when her debut REMEMBER TO BLINK (2022), a taut and tender adoption drama, triumphed at goEast. And Kaltrina Krasniqi’s VERA DREASM OF THE SEA (2021) showcases the filmmaking energy of Europe’s youngest country, Kosovo, where young women are leading the charge for a new national cinema.

05/06/2026

Coming up on Klassiki this June:

Paying tribute to the trailblazing female filmmakers of Eastern Europe, we spotlight four subversive and playful takes on gender roles and social norms, from the Czech New Wave to post-Communist Hungary, via Soviet Ukraine and Georgia in our new collection WOMEN WITH MOVIE CAMERAS.

Ester Krumbachová was the hidden mastermind behind the Czech New Wave, contributing costumes, set design, and screenplays for its most celebrated films. Her sole directorial effort, MURDERING THE DEVILl (1970, UK only), is a surreal fairy tale that revels in the grotesqueries of both male and female fragility. Ukrainian auteur Kira Muratova’s sophomore feature THE LONG FAREWELL (1971) was shelved by censors until 1987, then heralded as a lost masterpiece – a simple tale of maternal jealousy and filial rebellion brought to life by Muratova’s trademark visual wit. A pioneering feminist work from the legendary Lana Gogoberidze, SOME INTERVIEWS ON PERSONAL MATTERS 1978) is one of the most vital films produced in Soviet Georgia, starring Sofiko Chiaureli (THE COLOUR OF POMEGRANATES) as a journalist in search of the true meaning of equality. The conclusion to Márta Mészáros’s autobiographical Diary trilogy, which traces the life story of the orphan Juli through Hungary’s tumultuous post-war history, DIARY FOR MY FATHER AND MOTHER(1990) charts the failure of the 1956 Revolution, blending together documentary footage and personal drama as Mészáros brings the curtain down on her most ambitious filmmaking endeavour in grand style.

Rounding out the month, LAGUNA, which premiered in Venice, is Sharunas Bartas’ deeply personal diary film. With the filmmaker’s younger daughter, Bartas retraces the steps of his older daughter Maria, on the Pacific coast of Mexico, in the land Ina Marija had chosen as her home before her death. Immersing himself in the jungle and its rhythms, the film is an exquisite meditation on loss, grief and the healing power of nature.

04/06/2026

✨🎞️ Streaming now: WOMEN WITH MOVIE CAMERAS

Paying tribute to the trailblazing female filmmakers of Eastern Europe these four subversive and playful takes on gender roles and social norms, from the Czech New Wave to post-Communist Hungary, via Soviet Ukraine and Georgia.

Ester Krumbachová was the hidden mastermind behind the Czech New Wave, contributing costumes, set design, and screenplays for its most celebrated films. Her sole directorial effort, MURDERING THE DEVIL (1970), is a surreal fairy tale that revels in the grotesqueries of both male and female fragility. Ukrainian auteur Kira Muratova’s sophomore feature THE LONG FAREWELL(1971) was shelved by censors until 1987, then heralded as a lost masterpiece – a simple tale of maternal jealousy and filial rebellion brought to life by Muratova’s trademark visual wit. A pioneering feminist work from the legendary Lana Gogoberidze, SOME INTERVIEWS ON PERSONAL MATTERS (1978) is one of the most vital films produced in Soviet Georgia, starring Sofiko Chiaureli (THE COLOUR OF POMEGRANATES) as a journalist in search of the true meaning of equality. The conclusion to Márta Mészáros’s autobiographical Diary trilogy, which traces the life story of the orphan Juli through Hungary’s tumultuous post-war history, DIARY FOR MY FATHER AND MOTHER (1990) charts the failure of the 1956 Revolution, blending together documentary footage and personal drama as Mészáros brings the curtain down on her most ambitious filmmaking endeavour in grand style.

Streaming now ONLY on Klassiki. ✨🎞️

29/05/2026

📖 𝗟𝗼𝗼𝗸𝗶𝗻𝗴 𝗳𝗼𝗿 𝗮 𝘄𝗲𝗲𝗸𝗲𝗻𝗱 𝗿𝗲𝗮𝗱? 📖

“Even after ending up in hospital, beaten up by skinheads, I walked out full of love for Poland.” This paradoxical sentiment encapsulates the emotional tightrope walked by Indian filmmaker Arjun Talwar in Letters from Wolf Street, his self-reflexive documentary on the immigrant experience in his adopted homeland.

Talwar moved to Poland over a decade ago to study at the famous film school in Łódź. In recent years, he has lived on the titular downtown road in Warsaw. In an attempt to close the gap between himself and his neighbours, he begins to film himself, his street, and the people he encounters. The seemingly humble scale of the endeavour soon falls away as Talwar’s personal reflections begin to interweave with commentary on Polish history, the power of cinema, and the thorny question of identity in a globalised world. The painful core of the film is the keenly felt absence of Adi, the director’s best friend, with whom he made the move from Delhi to Poland all those years ago – and who took his own life a year or so before filming began. For Talwar, to document the immigrant experience in modern Poland is also an exercise in survivor’s guilt. We spoke with Talwar about his personal history of immigration, the inspiration he drew from Polish cinema, and the complicated web of personal and national histories that his film reveals.

Read the full article at the link in our bio ⬆️

28/05/2026

Arjun Salwar’s documentary essay about immigrant life LETTERS FROM WOLF STREET (2025) continues to charm our subscribers, a reminder you can enjoy Sam Goff’s video interview with the director as part of your Klassiki subscription. Moving to Poland to attend Lodz Film School, more than a decade ago, Indian filmmaker Arjun Talwar still feels alienated from his adopted homeland. To close the gap, he begins to film life on his downtown Warsaw avenue, reflecting on the immigrant experience in modern Eastern Europe. Before long, Talwar’s own story of hope and tragedy begins to interweave with commentary on Poland’s painful history, the power of cinema, and the thorny question of identity in a globalised world. Letters from Wolf Street uncovers the web of contradictions and anxieties in pursuit of genuine human connection.

22/05/2026

📖 𝗟𝗼𝗼𝗸𝗶𝗻𝗴 𝗳𝗼𝗿 𝗮 𝘄𝗲𝗲𝗸𝗲𝗻𝗱 𝗿𝗲𝗮𝗱? 📖

Nine years after his previous film – during which time he nearly died of Covid and was forced into exile in France – Andrei Zvyagintsev has returned to Cannes with a new feature, MINOTAUR (pictured). The film, which uses the war on Ukraine as a backdrop for the director’s trademark dissection of modern Russia’s social and spiritual ills, has been met with rapturous reviews and is considered a prime contender for the Palme d’Or. To mark Zvyagintsev’s return, we’re republishing this 2024 piece on the ten-year anniversary of his earlier masterpiece LEVIATHAN – a film whose subject matter and reception presaged Russia’s descent into the abyss.

21/05/2026

✨🎞️ Streaming now: LETTERS FROM WOLF STREET

After more than a decade in Poland, Indian filmmaker Arjun Talwar still feels alienated from his adopted homeland. Reflecting on the immigrant experience in modern Eastern Europe, he begins to film life on his downtown Warsaw avenue. Before long, Talwar’s own story of hope and tragedy begins to interweave with commentary on Poland’s painful history, the power of cinema, and the thorny question of identity in a globalised world. LETTERS FROM WOLF STREET is a deceptively light-footed and heart on its sleeve film essay; but it uncovers too all the contradictions and anxieties that lie behind political posturing. A gorgeous film about genuine connection.

Streaming now ONLY on Klassiki. ✨🎞️

18/05/2026

🎨✨This week’s 𝗣𝗼𝘀𝘁𝗲𝗿 𝗼𝗳 𝘁𝗵𝗲 𝗪𝗲𝗲𝗸 celebrates a highlight of our collection SOVIET SIXTIES with this gorgeous original artwork for Kaljo Kiisk’s MADNESS (1965).

Hailed as Estonia’s first truly modern feature film, Kaljo Kiisk’s mind-bending satire of authoritarianism and self-delusion pushed the boundaries of Soviet propriety and was banned from cinemas for nearly twenty years. In an unnamed, occupied country at the end of the Second World War, the Gestapo are planning on exterminating the residents of a remote asylum. But there’s a catch: reports suggest British agents are hiding among the patients. Officer Windisch (the legendary Estonian actor Jüri Järvet) must go undercover to root out the imposters – soon putting his own sense of sanity and faith in the fascist cause on the line.

Unmissable cinema. Only available on Klassiki ✨🎨

15/05/2026

📖 𝗟𝗼𝗼𝗸𝗶𝗻𝗴 𝗳𝗼𝗿 𝗮 𝘄𝗲𝗲𝗸𝗲𝗻𝗱 𝗿𝗲𝗮𝗱? 📖

As we continue to spotlight our new SOVIET SIXTIES collection, the journal focuses on Vigen Galstyan, the Yerevan based art historian and curator, meditates on landscape as a signifier in Armenian cinema: how they become both a symbol of collective fate and images filled with political resonance. From Henrik Malyan’s WE ARE OUR MOUNTAINS (featured in Soviet Sixties) to Sergei Parajanov’s COLOUR OF POMEGRANATES and Artavazd Pelechian’s WE, Galstyan argues the films share a fundamental preoccupation with the role of the landscape in the construction of the Armenian cultural imaginary. The key is the way these films formulate a specific idea of the natural environment as a collective paradigm for being in the world.

Read more at the link here➡✨: https://klassiki.online/journal/

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