What do a filmmaker who battles the political regime of his country, a postmodern trickster, and a master of deconstructing history have in common? All three take us on journeys through a social landscape teetering on the edge of madness. At Cannes this year, the journey – whether to the ends of the earth or just to the end of the street – was a recurring motif that revealed something essential about the human condition.

Victor Morozov

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Film critic and journalist; writes regularly for Dilema Veche and Scena9. He studied film theory in Grenoble, Paris, Dublin.

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