One of Makhmalbaf’s finest moments as a filmmaker, this meta-filmic exercise in reconciling with his own personal history is both poetic and introspective, and features one of cinema’s most revelatory ending shots.
Told in four chapters, of which the first is a masterpiece, Rasoulof’s Golden Berlin Bear winner, unfortunately, falters in focus as it ambitiously tackles the taboo subject of capital punishment in Iran.
A quiet, deliberately-paced Iranian drama about one man’s moral stand against a corrupt environment.
You wouldn’t expect this mature and revelatory work to have been directed by a 17-year old woman in Iran.
We follow a young schoolboy’s a-day-in-the-life journey in Kiarostami’s simple yet resonating breakthrough film.
Kiarostami leaves us with a work of indelible beauty, continuing his fascination with the phenomenology of cinema and its relation to the ephemeral.
Kiarostami’s first non-Iranian film is engaging, but the male lead is unable to hold his own against Juliette Binoche.
Plainfully simple yet thematically complex, this slow and bleak feature remains to be one of Kiarostami’s most profoundly engaging works.
A transcendent masterpiece that reveals intricate thematic complexities and showcases Kiarostami’s brilliance upon a closer and critical examination.
A neorealist-inspired first feature by Kiarostami, charting his path to become one of cinema’s foremost chroniclers of the human condition.
