The Klassiki Podcast

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

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

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

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: 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 a profile of the Ukrainian filmmaker Roman Bondarchuk, whose deadpan, absurdist comedies cut through the myth-making around his country by investigating the “no man’s land” of his native Kherson region. Bondarchuk’s recent feature The Editorial Office was completed during the full-scale invasion by Russia and speaks with particular clarity to the challenges that Ukraine was facing before the war and will face after it. Read the original piece here and watch Bondarchuk’s 2018 comedy Volcano on Klassiki now. Get in touch: podcast@klassiki.online Sign up for a free 7-day trial at klassiki.online.

We’ve reached the end of season 5! Thank you to everyone for listening along. We’ll be back in 2026, but for now, happy holidays and speak to you soon. To close out the season, we’re returning to the ever-expanding archive of writing on the Klassiki Journal and an essay on one of the great lost talents of the Soviet studio system. Aleksandr Askoldov only completed one feature film in his career, 1967’s excoriating anti-war drama Commissar, before falling foul of the censors and disappearing into obscurity. But the film remains a landmark for its deconstruction of Soviet mythology and its treatment of the USSR’s Jewish population. Klassiki favourite, writer and researcher Alisa Goruleva explores how Askoldov ended up on the wrong side of the censors but the right side of history. Read the original piece here and watch Commissar on Klassiki now. Get in touch: podcast@klassiki.online Sign up for a free 7-day trial at klassiki.online.

Listeners may remember our conversation earlier this year with Michael Brooke celebrating the centenary of Wojciech Has – one of Poland’s greatest and most misunderstood directors. We’re taking one last opportunity to honour Has’s hundredth anniversary year: right now until Christmas Day, subscribers can enjoy a restored version of his mind-bending masterpiece The Saragossa Manuscript. Adapted from a founding classic of Polish literature, the film presents a surreal odyssey across time and space that nests stories within stories to baffling and hypnotic effect. To unpack the film, Sam invited old friend of the show, film writer and historian Ian Christie, to join him in deciphering the Manuscript: from the source novel to the film’s daring formal tricks, its place in sixties counterculture, its long critical re-evaluation, and its profound influence on everyone from Luis Buñuel to David Lynch. Watch The Saragossa Manuscript on Klassiki until 25th December. Listen to our episode on the life and times of Wojciech Has here. Read Daniel Bird’s essay on Has’s surreal literary adaptations here. Get in touch: podcast@klassiki.online. Sign up for a free 7-day trial at klassiki.online.

Central Asia remains a great blindspot for many Western cinephiles – so we were thrilled to hear about an upcoming season in New York, hosted by the Asia Society in partnership with Anthology Film Archives. Eastern Notions is a celebration of the great Uzbek director Ali Khamraev, one of the true masters of Central Asian cinema, with more than 20 features in a career stretching back to the 1960s. Running from 20-23 November, the season highlights five of Khamraev’s fiction films, with the great man making a rare appearance in the States to attend in person. To mark the occasion, host Sam Goff spoke with the season’s curator Inney Prakash about Khamraev’s diverse body of work, his relationship with more famous Soviet icons like Andrei Tarkovsky and Sergei Parajanov, and the question of curating Central Asian film. Listeners in New York, don’t miss out: Eastern Notions runs from 20-23 November at Asia Society and Anthology Film Archives. Read our 2021 interview with Ali Khamraev for further insight into his long and fruitful career. Klassiki subscribers can watch Khamraev’s poetic and autobiographical film I Remember You on the site now. Get in touch: podcast@klassiki.online. Sign up for a free 7-day trial at klassiki.online.

This week, we’re reopening the Klassiki Kino Club, our watch-along exploration of Klassiki’s ever-expanding catalogue. In the hot seat this time around is Ally Pitts, host of the long-running Russian and Soviet Movies Podcast and confirmed Eastern European film aficionado. Ally’s choice comes from Azerbaijan: Orkhan Aghazadeh’s 2024 documentary The Return of the Projectionist, a portrait of cinephilia and friendship across generations. Ally and host Sam Goff get into Aghazadeh’s playful blend of observation and performance, the state of cinema in the post-Soviet space, and how to make a nostalgic film without being sentimental. Watch along with us on Klassiki now! Subscribers will also find our exclusive video interview with Aghazadeh. Check out Ally’s podcast here. Get in touch: podcast@klassiki.online. Sign up for a free 7-day trial at klassiki.online.

The 69th edition of the London Film Festival has just rolled through the capital’s cinemas, bringing a host of filmmaking talents in its wake. Sam headed down to the festival press circuit to speak to two directors in town with their latest films. First we hear from North Macedonia’s Teona Strugar Mitevska, who has been a shining light of Balkan filmmaking for over 20 years. Her latest film is perhaps her most ambitious yet: Mother, a punkish take on Mother Teresa starring Noomi Rapace, which had its premiere in Venice this summer. Then we catch up with acclaimed Iranian director Sharham Mokri, who travelled to neighbouring Tajikistan for his latest film, Black Rabbit, White Rabbit, which screened in competition in London. With the help of interpreter Iante Roach, Shahram and Sam discussed the deep links between Iranian and Tajik cinema – including how jumping between the two countries can help filmmakers from both to avoid growing censorship at home. Read our interview with Teona on her previous film 21 Days Until the End of the World here. Read Tajik filmmaker Anisa Sabiri on the influence of Iranian cinema in Tajikistan here. Sign up for a free 7-day trial at klassiki.online.

We’ve reached the end season four! Thank you as always for listening along. We’ll be back in the autumn, so look out for that and make sure you’re subscribed in your podcast app of choice so you don’t miss out. In the meantime, we want to hear from you. Do you have questions, comments, complaints, or suggestions for the show? You can now email them to us at podcast@klassiki.online. Get in touch ahead of the new season. We’re closing out season four with a look at a fascinating and misunderstood part of Ukraine: the Donbas. This resource-rich region in the east of the country was celebrated as the industrial heartland of the Soviet Union, but since 2014 has become synonymous with destruction and war after more than a decade of Russian aggression and occupation. It’s a region that has been subject to much controversy, within Ukraine as well as internationally, but its vibrant and diverse history is too often overlooked. It’s this history that Victoria Donovan has set out to capture in her fantastic new book, Life in Spite of Everything: Tales from the Ukrainian East. Victoria draws on her extensive travel and research in Donbas to move past the clichés and give a human perspective on events. Host Sam Goff sat down with her to discuss the book, and to explore how film has been used and abused in creating an image of the region. We’ve put together a playlist of some of the films discussed in this episode for Klassiki subscribers, which you can find here. Buy Life in Spite of Everything: Tales from the Ukrainian East here. Read an interview with Freefilmers here and explore their recent work here. Explore documentary material from the Donbas in the Urban Media Archive here. Sign up for a free 7-day trial at klassiki.online.

This week, we’re launching 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 prolific British artist and filmmaker Ben Rivers, whose latest feature, the post-apocalyptic tale Mare’s Nest, premieres in competition at the Locarno Film Festival this week. With that in mind, Ben has picked a fascinating quartet of titles for Klassiki: four films that explore the end of the world, whether literal or metaphorical, featuring sci-fi weirdness, nuclear paranoia, and the threat of social collapse. Host Sam Goff sat down with Ben to discuss the appeal of this End Times cinema, the unique nature of eastern European sci-fi, children on film, and the enduring influence of Aleksandr Sokurov on his work. Make sure to explore Ben’s Klassiki Picks, available to subscribers from 7 August. 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. Today is the seventieth birthday of one of the true greats: Béla Tarr, Hungary’s maestro of slow cinema melancholy. So, to celebrate, host Sam Goff is reading from our companion to the life and times of this icon of eastern European film – from his early days as a schoolboy anarchist to his position as a grandee of world cinema. Read the original piece here and make sure to explore our collection of Hungarian titles. Sign up for a free 7-day trial at klassiki.online.