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