Jafar Panahi's latest grapples with the morality of vengeance Iran is producing some of the best modern filmmakers working today, yet sadly, it is not reaping its artistic rewards. Many of these directors are choosing to leave the theocracy and make films elsewhere—or film in secret, risking imprisonment from censors. Last year brought the brilliant Oscar-nominated  The Seed of the Sacred Fig  (2024), smuggled out of Iran by its now-exiled director Mohammad Rasoulof into Germ

The third entry in the franchise is more style than substance Despite amassing a devoted cult following, the Tron films have never been...

Benny Safdie's first solo directorial effort delivers Dwayne Johnson's best performance Despite bursting onto the cinematic scene with...

Paul Thomas Anderson delivers yet another American epic To call something an “American epic” should be reserved to a text that captures the complexity, contradictions, promise, and betrayal that the idea of America entails. The greatest works to carry this tag include “The Great Gatsby” or “The Grapes of Wrath.” In film, we’ve gotten the likes of Giant (1956) or The Godfather (1972). Yet as the medium of cinema has turned increasingly commercial and risk averse, more prone to

Carla Simon's third feature continues her exploration of memory What is history if not memories compiled, and what is memory, if not...

Kogonada’s romance fantasy has charm and color, but no heart beneath the sheen Love is the most covered subject in the arts—be it in...