Ralitza Petrova's early life was spent making fine art, with the idea of directing films dawning on her in her early twenties. After making an experimental documentary in Tokyo about teenage suicide survivors, she went on to study Film at University of the Arts, later completing her Masters in Fiction Directing at the National Film and Television School.
Ralitza Petrova's Locarno Golden Leopard winner Godless is the latest in an outpouring of punishing portraits of life in the New East. Rigidly conforming to the stark, unforgiving aesthetic now synonymous with post-soviet social realism, Petrova's debut is a gruelling exploration of the new political and cultural identities being forged in Bulgaria following the transition from socialism to a market economy.
Cinema is still only a youthful art form, and one some filmmakers will describe as an amalgamation of the other artistic mediums. To begin to understand or appreciate the emergence of cinema out of these other art forms, the perspective of a filmmaker for whom film is not their primary voice of creative expression offers an insight into the amalgamation of the forms.
Schedule for 7 January 2017 on Monocle 24, our audio service offering live shows and podcasts covering news, foreign affairs, business, culture, design, urbanism, food & drink, print media and more.
We live in a world of extremes and the colour palette of cinema itself could be seen as one of two extremes - the monochrome versus the colour image. There have been those film such as Pleasantville that have sought to juxtapose the extremes of the colour palette, yet Petr Václav's We Are Never Alone is in a state of frequent movement between the two.