Samizdat Eastern European Film Festival

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Samizdat Eastern European Film Festival, returning to Glasgow between 1st and 5th October, is the first Scotland-based festival dedicated exclusively to Eastern European cinema!

About Samizdat Eastern European Film Festival

Listed Under Film Events / Nights Out Events

Samizdat Eastern European Film Festival has today announced its 2024 programme with a focus on unearthed masterpieces, contemporary features and documentaries, uncategorizable animated oddities and short film gems. Running from 1 - 5 October, the Festival showcases radical works of cinema at its partner venues Glasgow Film Theatre, CCA Glasgow and Summerhall Edinburgh. Several screenings will also be available to view through the Festival’s online partner Klassiki.

The Festival kicks off on 1 October at the Glasgow Film Theatre with a new instalment of bizarre, eerie, and unique Animations of the late Eastern Bloc (1980-1997). A surgery is performed on a bust of Joseph Stalin, a yeti living in the mountains of Kazakhstan listens to The B-52s, a school of vengeful fish attacks a seaside village, and a man pawns his face to buy a lottery ticket. This collection is of some of the most dreamlike and thought-provoking shorts from a time and place where the animated image served as a stage for unprecedented artistic and political expression. The animation screening will be followed by a free-entry Opening Night celebration at the CCA Glasgow’s Third Eye Bar, featuring Samizdat-themed cocktails and a DJ set by Kernius Linkevicius.

Also at the Glasgow Film Theatre on 4 October, as part of Night Terrors: A Samizdat Special Horror Event, there is a special screening of The Hourglass Sanatorium (Sanatorium pod klepsydrą) (1973) with a recorded introduction by Prof. Ewa Mazierska. This sublimely surreal Alice-in-Wonderland tale by renowned Polish director Wojciech Jerzy Has follows a young Jewish man named Joseph who visits his father in a sanatorium, only to find the place strangely abandoned. As he explores further through its labyrinthine rooms, he starts to lose all grip on time and reality.

As a follow-up to the main Festival, on 19 October, Samizdat will host a pop-up screening of Grigori Kromanov’s hypnotising sci-fi noir Dead Mountaineer’s Hotel (Hukkunud Alpinisti hotell) (1979), alongside a rerun of its programme of animations and shorts, at the Edinburgh Summerhall. In the film, a police inspector arrives at a remote hotel in response to a call out: except there is nothing to investigate, yet. As he meets its strange guests, the hotel is cut off from civilization by an avalanche – and bizarre events start to unfold. The film screens with selected shorts and animations from across the Festival.

Also screening at the Festival between 1-5 October are:

Set in 1930s Prague, Juraj Herz’s masterwork of Czechoslovak New Wave, The Cremator (Spalovač mrtvol) (1969) follows Karel Kopfrkingl, a seemingly mild-mannered crematorium worker who becomes increasingly obsessed with the notion of death as a means of purification. As Nazist beliefs begin to infiltrate his worldview, Kopfrkingl's twisted sense of morality spirals into madness, leading him to see his work as a divine mission to ‘save’ humanity by sending souls to the afterlife.

Screening for the first time with original English subtitles, The Touch (Прикосновение) (1989) takes place in the Kazakh steppe of the long-gone past as a nomadic blind girl with prophetic abilities crosses paths with a fugitive slave. Shot in mixed colour/black-and-white cinematography, this mythical story of tragic love is a hidden gem of the Kazakh New Wave.

A hidden gem of found-footage horror, Adrian Țofei’s directorial debut Be My Cat: A Film for Anne (2015) centres around an aspiring Romanian filmmaker (Țofei) whose obsession with Anne Hathaway manifests itself as a twisted desire to convince her to move to Romania and star in his projects. As he documents his endeavour, his obsession escalates, leading to terrifying and violent consequences for those caught in his orbit.

Banned by the Soviet authorities, the first Caucasus feature directed by pioneer woman-filmmaker Nutsa Gogoberidze (mother of Lana Gogoberidze, whose film Some Interviews was screened at Samizdat 2023) documents a mystical world on the verge of extinction. Cheerless (Uzhmuri) (1934) was commissioned to celebrate the Communists’ drive to drain the Mingrelian swamps inhabited by the treacherous spirits ‘Uzhmuri’, according to local beliefs. The magical realist style of the film and its equivocal storytelling undermine this message.

In A Picture to Remember (Фото на пам’ять) (2023), part of Samizdat’s annual Ukrainian film programme, the war is narrated through the voices of three generations of women: A grandmother in occupied Donbass, a mother studying parasites one floor above a morgue in Kyiv, and a daughter trying to make sense of reality through a camera lens. The film is prefaced by an experimental Ukrainian short film In The Noise Of A Downpour.

A Lithuanian musical rich with traditional folklore imagery and explosive visual style, The Devil’s Bride (Velnio Nuotaka) (1974) sees imp Pinčiukas expelled from heaven and landing in a lake by a windmill. He meets the miller, Baltaragis and makes a pact, but when the little devil tries to claim what was promised, Baltaragis attempts to trick him, and chaos ensues.

Tonya Noyabrova’s coming-of-age drama Do You Love Me? (Ти мене любиш?) (2023) shows a meticulously recreated Ukraine of the 1990s through the eyes of Kira, a teenager whose most tender years are spent amongst the artistic intelligentsia against the background of a collapsing Soviet empire.

Oksana Karpovych’s searing documentary Intercepted (Мирнi Люди) (2024) is a profound exploration of the very nature of war. The film is composed of long shots of landscapes and interiors devastated by the Russian invasion of Ukraine, overlaid with a voiceover of telephone conversations between Russian soldiers and their families that were intercepted in 2022 by the Ukrainian Secret Service.

As part of a curatorial partnership with the Borscht Film Club (part of the Beetroots Collective), Samizdat will also host a screening of The Balcony Movie (Film Balkonowy) (2021), a unique Polish documentary comprised of director Paweł Łoziński’s conversations with random pedestrians passing by his Warsaw flat’s balcony. Funny, pensive, touching, or troublesome, these momentary encounters paint a vivid and strange portrait of contemporary society, with all its hopes and issues. Director Paweł Łoziński will participate in an online Q&A with the audience after the screening.

With last festival’s Short Film Audience Award going to Comrade Policeman by Kazakh director Assel Aushakimova, the festival is continuing and expanding its Short Film Competition. This year, 17 titles — from Estonia to Kyrgyzstan — will compete for the main prize, awarded based on audience voting.

Real and unreal, presence and absence, human and inhuman blur together in Dusan Milić's tense anti-war thriller-horror Darkling (Мрак). In rural Kosovo of the 1990s, eleven-year-old Milica lives in a dilapidated farmstead within the Serbian enclave with her mother Vuckiva and despotic grandfather Milutin. Every night after dark, an unseen force seems to terrorise the family and slaughter their livestock, but the increasingly paranoid and dangerously erratic Milutin obstinately refuses to leave what’s left of his home.

In Lighthouse (Маяк) (2006), a young woman returns to her childhood village from Moscow in the hopes of persuading her grandparents to leave the war-town Caucasus. However, any escape proves elusive. The first feature filmed in Armenia to be directed by an Armenian woman, Lighthouse is a languorous rumination on local connections, memory and loss.

Samizdat Eastern European Film Festival takes place at Glasgow Film Theatre and CCA: Centre for Contemporary Arts Glasgow.

Several virtual screenings of films from the in-person programme and recorded events are accessible on the website of Samizdat’s partner Klassiki, the world's only curated streaming platform for films from Eastern/Central Europe, the Caucasus, and Central Asia. All virtual screenings and events are accessible to attendees who join Klassiki’s membership.

Samizdat strives to ensure that its line-up can be seen by as many people as possible, so most film screenings are priced on a sliding scale, where the attendees are invited to pay based on their preference and ability. Special events are sometimes priced differently.

The 2024 edition of Samizdat is supported by Screen Scotland’s National Lottery Film Festival and Screening Fund and Film Hub Scotland, part of the BFI’s Film Audience Network, awarding funds from Screen Scotland and National Lottery funding from the BFI. Samizdat’s event co-organised with the Association of Ukrainians in Great Britain is jointly funded by Awards for All Scotland.

Samizdat Eastern European Film Festival runs from 1 to 5 October and 19 October 2024. Tickets go on sale on 10 September 2024.

Where possible we will update our listings to notify of cancelled, postponed and rescheduled events, however we STRONGLY ADVISE that you check with the venue/organiser in the first instance for updates.

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