Focus on Asia and the Middle East

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

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

Ashes of Time, Rivers of Return: Jia Zhang-Ke’s Ash Is Purest White