By Azadeh Jafari | January 5, 2021

During childhood, I also had the opportunity to experience a very different cinema: global art films, broadcast in a weekly program on Iranian national TV. In comparison to classical cinema, those films were serious, disorienting, and bleak . . . they encouraged me to crave meaning by looking inside, by criticizing my own emotions.

By Damon Smith | December 23, 2020

The Otherness it uncritically invokes touches on postcolonial realities and racial demonizing at a moment when England was embroiled in a thicket of social and economic problems and anti-immigrant violence. But its dark vision of the English soul as inherently corrupted and afflicted by madness was hardly a comforting takeaway.

By Nicholas Russell | December 17, 2020

Seriousness is often likened to pretentiousness, which is often a sort of veiled criticism, at least when talking about movies. It qualifies everything a given film isn’t (fun, humorous, irreverent), while also overstating what the movie actually does or tries to be.

By Michael Koresky, Jeff Reichert | December 10, 2020

Maybe rigorous analysis needs always to be leavened with a certain degree of humility. This seems particularly important when we look at films from unfamiliar places and wish to address ideas of culture and place.

By Imogen Sara Smith | December 10, 2020

Naruse’s gracefully unobtrusive style is attentive to mundane details: table manners, tedious routines of housework or office culture. There are small pleasures to be found, but he also shows daily life as a process of erosion or weathering.

By Naomi Keenan O'Shea | December 10, 2020

While I experienced this visceral unfolding across the political landscape of Ireland in the coming years, was in the midst of my delving into Panahi’s post-ban films, exploring how the particular censorship conditions under which the director lives give shape to his storytelling as a distinct mode of resistance.

By Michael Koresky | December 10, 2020

Watching it again today, I realize that Zhang Yimou’s film might have worked particularly well for an adolescent viewer because it functions on traditional fairy tale logic.