Emotional Fidelity: True Crime and Misogyny in Ali Abbasi’s Holy Spider
Words Alexandra Heller-Nicholas
Focus on Asia and the Middle East
130 articles
Emotional Fidelity: True Crime and Misogyny in Ali Abbasi’s Holy Spider
Open Investigations: Love and Obsession in Park Chan-wook’s Decision to Leave
Words Anthony Carew
Interrupted Youth: Forced Marriage in Hà Lệ Diễm’s Children of the Mist
Words Laurence Barber
No Place to Run: Inescapable Politics in Mounia Akl’s Costa Brava, Lebanon
Words Anthony Carew
Out of Water: Genre, Turkish Cinema and Emin Alper’s Burning Days
Words Glenn Dunks
A God Is Born: Religion and the Absurd in Ritwik Pareek’s Dug Dug
Words Anthony Carew
Distant Memories: Grief and Childhood in Li Dongmei’s Mama
Words Debbie Zhou
Subterranean Trauma: The Palestinian Experience in Darin J Sallam’s Farha
Words Anthony Carew
Landscape of Rage: Men and Women in PS Vinothraj’s Pebbles
Words Gabrielle O'Brien
Performing Truth: The Films of Ryūsuke Hamaguchi
Words Anthony Carew
Sacred Arts: Devotion and Disillusionment in Chaitanya Tamhane’s The Disciple
Words Anthony Carew
Women on the Verge: Haifaa Al Mansour’s The Perfect Candidate
Words Anthony Carew
Fragments and Textures: Memory and the City in Zheng Lu Xinyuan’s The Cloud in Her Room
Words Danica van de Velde
Confinement and Camaraderie: Girls Behind Bars in Starless Dreams and Sunless Shadows
Words Anthony Carew
Artificial Rain: Control, Precision and Reality in Anthony Chen’s Wet Season
Words Kenta McGrath
Uneasy Transition: The City Documented in Hong Kong Moments and Many Undulating Things
Words Anthony Carew
Laughter Through Tears: Palestine and Self-portraiture in the Films of Elia Suleiman
Words Anthony Carew
Indeterminate Past: Death, Regret and Time Travel in Mattie Do’s The Long Walk
Words Kate Robertson
Dreams and Nightmares: The Animated Worlds of Satoshi Kon
Words Anthony Carew
Purposeful Provocation: Auteurism and Artistry in Takashi Miike’s First Love
Words Dave Crewe
Beyond Borders: Translation and Cultural Authenticity in Hirokazu Koreeda’s The Truth
Words Kenta McGrath
Poetry of the Night: The Noir Trappings Of Diao Yinan’s The Wild Goose Lake
Words Nicholas Godfrey
Multiplayer Mode: Loss and Growing Up in Makoto Nagahisa’s We Are Little Zombies
Words Anthony Carew
Smoke and Mirrors: Midi Z’s Nina Wu and the Cinema of Self-reflection
Words Gabrielle O'Brien
Finding Home in a Daydream: Shahrbanoo Sadat’s The Orphanage and Afghan Storytelling
Words Anthony Carew
Birth Control: Nanfu Wang and Jialing Zhang’s One Child Nation
Words Debbie Zhou
Killing the Host: Class and Complacency in Bong Joon-ho’s Parasite
Words Laurence Barber
Chosen Land: Affection and Ambivalence in Nadav Lapid’s Films About Israel
Words Anthony Carew
Love over the Borderline: Tenderness and Transformation in Phuttiphong Aroonpheng’s Manta Ray
Words Nicholas Godfrey
Scars of Time: Guilt and Forgiveness in Wang Xiaoshuai’s So Long, My Son
Words Dave Crewe
Quiet Night Thoughts: Warped Time in Three Asian Arthouse Films
Words Jessica Kiang
Art as Resistance: History and the Individual in Jafar Panahi’s 3 Faces
Words David Heslin
Moving Forward in Circles: Repetition and Reflection in Hong Sang-soo’s Grass
Words James Robert Douglas
Things to Come: The Wandering Earth and Chinese Cinema’s Growing Predominance
Words Mike Walsh
Quiet Rage: The Fire and Finesse of Lee Chang-dong’s Cinema
Words Anthony Carew
Darkness in the Spotlight: Binaries and Brutality in Zhang Yimou’s Shadow
Words Debbie Zhou
Film à la Mode: Juxtaposing East and West in Yellow Is Forbidden
Words Rebekah Brammer
Communal Complicity: Family and Fairness in Hirokazu Koreeda’s Shoplifters and The Third Murder
Words Anthony Carew
Sibling Reverie: Growth and Interdependence in Mamoru Hosoda’s Mirai
Words Dave Crewe
Ashes of Time, Rivers of Return: Jia Zhang-Ke’s Ash Is Purest White
Words Nicholas Godfrey