The film grapples with the various shapes that guilt and honor (or lack thereof) might take in a context of state-sanctioned death.
Mohammad Rasoulof and Abbas Kiarostami’s films ask fundamental questions without proffering easy answers.
An air of resignation hangs prominently over Goodbye.
Mohammad Rasoulof’s Good Bye brings Rossellini’s ’50s to today’s Tehran.
Mohammad Rasoulof anticipated his own fate.
Stylistically, The Kid with a Bike is one of the Dardennes’ most fluid films.
A sex-toy Pinocchio? Offenbach’s Olympia as an inflatable courtesan? If only.
It’s the film’s more general, humanistic portrait of man’s multifaceted nature that truly inspires
One of the great works of Iranian cinema.
Mohammad Rasoulof’s examination of life on board a decrepit tanker in the Persian Gulf is anything but obtuse.