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On the Occasion of Iran’s National Cinema Day
Iran’s National Cinema Day offers us an opportunity to look again at the long road Iranian cinema has traveled—a road filled with rises and falls, brilliant periods and difficult years, failures and achievements, hopes and disappointments. Yet when we look back at this history, one essential part of it has ...
Paolo Strippoli’s L’estranea (The Spiral), presented in competition at the Venice Film Festival, begins with the face of a working woman’s young son, setting into motion the spiral that will define the film. It is the face of a child absorbing the pain of his mother’s humiliation.
In the middle of a party, Anna shouts at the woman who works for her, b...
Working in animation changes the way you look at children’s entertainment because you begin to notice things that most viewers are not supposed to think about consciously, from the shape of a character’s eyes and the softness of a silhouette to the color palette, the rhythm of a voice and the way a smile is designed to make a child feel safe before a single word has been spok...
After four films, several of which ended with such emotional finality that audiences had already said goodbye more than once, returning to Woody, Buzz, Jessie and the rest of the gang inevitably carries the suspicion that nostalgia has become too valuable for Hollywood to leave alone. Pixar has built one of the most beloved series in animation history, but affection can becom...
Four years after directing his vitriolic, self-reflexive film Ahed’s Knee, Israeli filmmaker Nadav Lapid turned to satire with Yes in 2025. The earlier film focused on Y, a controversial director (much like Lapid) invited to present one of his films in a small village in southern Israel. When confronted with a list of approved discussion topics which he is r...