Sasho Pshenko | The Pittsburgher

Sasho Pshenko

The Donkey, the Horse, and the Human Condition: Nihilism in Au Hasard Balthazar and The Turin Horse

Two bleak and philosophical films centering around mysterious animals provide us with a prism through which to view our own human world.

Sasho Pshenko

Trapped Inside the Castle: Finding Kafka and Nausea in Spencer

Sasho Pshenko explores Spencer and how its depiction of Princess Diana bears a striking resemblance to the Kafkaesque world.

Sasho Pshenko

Lamb and the Double-Edged Sword of Ambitious Filmmaking

Valdimar Jóhannsson’s debut thriller Lamb (2021) has been hailed by critics for its bleak cinematography and strange, dreadful suspense.

Sasho Pshenko

The Eternal Potency of The Master and Margarita’s Passive Resistance

Sasho Pshenko revisits The Master and Margarita and finds in it a guide, of sorts, to an unexpected form of resistance: passivity.

Sasho Pshenko

The Girl, the Home, the Night, and Ana Lily Amirpour’s Glorious Cinematic Vampirism

Ana Lily Amirpour’s A Girl Walks Home Alone at Night is a revelry of cinematic styles and innovation.

Sasho Pshenko

Life, Art, and Imitation in Abbas Kiarostami’s Close-Up

Sasho Pshenko dives into Abbas Kiarostami’s Close-Up and shows us why any attempt to separate truth from deception is missing the point.

Sasho Pshenko

The Self-Defeating Nature of Experimental Films

What does it mean for experimental film, differentiated from its commercial counterpart by its ability to break rules, to go “too far”?

Sasho Pshenko

Moving Through the Worlds of Christian Petzold’s Phoenix

Explore Phoenix’s undeniable links to Hitchcock’s Vertigo and the kinetic and psychic movement of characters through the worlds of both.

Sasho Pshenko

Is The Father a Pointless Circle?

Sasho Pshenko examines The Father from the perspective of its narrative structure and tries to determine if critical praise has misplaced.

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