HUNGARY Ordinary compromises István Szabó interviewed Szabó, through films such as Mephisto, has become not only one of Hungary's foremost directors but a major international figure in film. Necati Sönmez met him in India to talk about making compromises, why Hollywood is central European and defining European culture. POLAND Man of magnets Marcin Wrona interviewed Wrona is still at film school, yet his short Czlowiek magnes is winning him both awards and comparisons to Terry Gilliam. The director tells Izabela Kalinowska about his recent success, how little current Polish cinema interests him and where he's heading now. POLAND The birdcage is empty Further thoughts on Roman Polanski's The Pianist (2002) Responding to an article in Kinoeye, Sheila Skaff argues that is wrong to talk about "detachment" with regard to Polanski's Palme d'Or winner and the film is not "simple" but merely exhibits a tasteful lack of both hyperbole and obtrusive technique.

HORROR The "Real" and the abominations of hell Carl-Theodor Dreyer's Vampyr (1931) and Lucio Fulci's E tu vivrai nel terrore—L'aldilà (The Beyond, 1981) After casting doubt on the relevance of psychoanalytic interpretation to an aesthetic appreciation of cinema, Michael Grant brings the post-symbolist strand of modernism to bear on a pair of vastly different European horror films: Vampyr and E tu vivrai nel terrore—L'aldilà. HORROR The face that launched a thousand trips An interview with Reggie Nalder Instantly recognisable after his role in Hitchcock's 1956 version of The Man Who Knew Too Much, and a key figure in European horror cinema for over two decades, Reggie Nalder had a film career that truly stands alone. Kinoeye presents David Del Valle's interview with this modern horror icon.

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