The Locust (Malakh) follows Hanieh, a forty-year-old woman who wants to make her semi-autobiographical film. But she is broke and on the verge of being thrown out of her apartment. To make…
Tag: Iranian
Iranian cinema seems to enthuse itself. Even after decades of “New Wave” Iranian films first touching the Western shores, they refuse to wash their hands off their precise domesticity that made their…
Iranian New Wave movement started off in the 60s, with Hajir Darioush’s film, Serpent’s Skin. Political movements were the dynamics leading to the rise of the New Wave in Iran. And holding…
Exposing the hypocrisy & double standards of men, especially when it comes to matters of sex, Tehran Taboo captures how patriarchy plays an important role in subduing almost every aspect of women’s…
In his screenwriting book, Robert Mckee says that story is a metaphor for life. But can story be a metaphor for death? Every grave has a story to tell. This is the story of an elderly morgue attendant whose sole purpose in life is to give meaning to death.
Part minimalist human drama, part surreal fantasy, Oblivion Verses is kind of movie Kiarostami would’ve made if he were high on acid.
Asghar Farhadi has honed a straightforward and simple cinematic language that is both elusively subtle for casual viewers to appreciate the nuances, and at the same time, psychologically complex & morally ambiguous…