Over the course of his long-standing career, spanning decades and outliving the twilight of British imperial might, Ken Loach has championed the rights of the working class and cherished them in his…

Over the course of his long-standing career, spanning decades and outliving the twilight of British imperial might, Ken Loach has championed the rights of the working class and cherished them in his…
“Sometimes we need to look at something different, something that is closer to reality. We need to see a hero who is like us, in thought and in actions. This is exactly…
Come and See is a brilliantly crafted, traumatizing work of cinema. Its baleful imagery and the protagonist’s agonized face is something that would come to your mind, whenever the evils of war is discussed.
The Japanese master of modern family dramas, Hirokazu Kore-eda, in the past two decades has created a body of work that gracefully and subtly explores the fascinating private worlds of emotionally vulnerable individuals. Since Kore-eda fleshes out his emotionally complex characters without employing high-strung drama, his works may disappoint those expecting neatly aligned conflicts and respective resolutions.
Taxi isn’t just a proclamation of Panahi’s boldness and defiance; it is also a nicely coiled allegory and a biting satire on the limitations imposed on him as well as on many fellow Iranians. While “This is Not a Film” (2011) was diffused with an atmosphere of despair and “Closed Curtain” (2013) laced with righteous anger, “Taxi” is enlivened with bursts of optimism and sarcasm (Panahi even smiles a lot in the film).