This banned and long-lost Iranian debut feature, boosted by a stunning restoration, is a genuine eye-opener—subversive, progressive, and a formidable take on how power and greed are symptomatic of patriarchy and nobility.
Extraordinary docu-fictive filmmaking by Kiarostami as the second part of his ‘Koker’ trilogy brings us to the aftermath of the devastating 1990 Manjil-Rudbar earthquake via a skillfully deceptive meta-cinematic device.
Certainly not short of mainstream appeal, Majidi’s new Iranian drama centers on the subject matter of children and forced labour as it builds a narrative around a secret heist in an unsuspecting school.
Majid Majidi’s Berlinale Best Actor winner is a largely assured drama centering on the rural-urban divide in Iran through the eyes of a poor family.
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.
