Focus on Asia and the Middle East

Homeward Bound: The Perils of Duty and Palestinian Society in Annemarie Jacir’s Wajib

Unearthly Terror: The Unconventional Horror of Kiyoshi Kurosawa’s Foreboding

Peonies of Pyongyang: Women in North Korean Cinema

Dance of Despair: Israel, Trauma and Samuel Maoz’s Foxtrot

It’s Still Life: Abbas Kiarostami’s 24 Frames

Representing Resistance: Ayse Toprak’s Mr Gay Syria and LGBTQIA+ Rights

The Pain of Purity: Abuse and Collusion in Vivian Qu’s Angels Wear White

Salt of the Earth: Virtue and Vengeance in Mohammad Rasoulof’s A Man of Integrity

Turning the Lens: Looking and Reliving in Hong Sang-soo’s Claire’s Camera

States of Loneliness: Proximity and Distance in On the Beach at Night Alone

Cutting Through the Chanbara Film: Takashi Miike’s Blade of the Immortal

Making Peace: Resignation, the Road Movie and Kirsten Tan’s Pop Aye

Inside and Out: Afghan Life in Shahrbanoo Sadat’s Wolf and Sheep

Flight of Fancy: Falconry, Affluence and Yuri Ancarani’s The Challenge

Generic Interventions: Tropes and Topicality in the Films of Bong Joon-ho

Conflict in Representation: Hussein Hassan’s The Dark Wind and the Plight of the Yazidis

Past Refractions: Anocha Suwichakornpong’s By the Time It Gets Dark

Stark Lives, Stark Lens: Restlessness and Realism in Brillante Mendoza’s Ma’ Rosa

The Fullness of Time: The Anime Films of Mamoru Hosoda

Be Careful What You Wish for: Makoto Shinkai’s Your Name

Another Day in Paradise: Sex Tourism and Colonialism in Bangkok Nites

Conflicting Passions: Love, Ambition and Obsession in The Road to Mandalay

Players on the Stage: Asghar Farhadi’s The Salesman

Candid Camera: Ryūsuke Hamaguchi’s Happy Hour

Sisters Doing It for Themselves: Deniz Gamze Ergüven’s Mustang

Phase Change: Apichatpong Weerasethakul’s Cemetery of Splendour

Reeling in the Beast: The Anti-Russian, Russian Leviathan

Winter of Discontent: The Pensive Theatre of Nuri Bilge Ceylan’s Winter Sleep

Modern Love: Hirokazu Koreeda’s Like Father, Like Son

Cinema Reincarnated: Apichatpong Weerasethakul and Thai Cinema’s Radical New Life