One of Hou’s constant themes (one that recurs in the work of many of the notable Taiwanese directors) is alienation, not just of a personal, but of a national sort.
In keeping with his recent work, Panahi turns the camera on himself and his own government-imposed creative struggles.
The bars in both Closed Curtain and Crimson Gold allude to the cognitive imprisonment of its characters.
See below for a list of the films that just missed making it onto our list of the best films of 2012, followed by our contributors’ individual ballots.
A Trip to the Moon and The Kid with a Bike showed that all films are new to anyone seeing them for the first time.