
Cannes Film Festival 2018: Day 5
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Cannes Film Festival 2018.
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Cannes Film Festival 2018.
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Mitra Tabrizian’s Gholam stars Shabab Hosseini in an intense story of a lonely exiles alienation from two cultures.
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Abbas Kiarostami’s experimental, posthumous 24 Frames is a meditative insight into a great filmmaker’s creative process.
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Mohammad Rasoulof laments institutional corruption in Iranian society in A Man of Integrity (Lerd).
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Abbas Kiarostami’s experimental, posthumous 24 Frames is a meditative insight into a great filmmaker’s creative process.
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Asghar Farhardi’s The Salesman illuminates universal moral arguments about masculinity by presenting them in parallel with a production of Arthur Miller’s stage play in contemporary Iran.
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Mohsen Makmalbaf’s The Nights of Zayandeh-Rood, banned in Iran since 1990, gets its first showing in London.
An original supernatural horror movie set in Iran, Under the Shadow is an impressive debut for director Babak Anvari. Under the Shadow CAUTION: Here…
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A multilayered blast of mysterious occurrences in the desert, Mani Haghighi’s A Dragon Arrives! is an enjoyable bafflement.
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An Iranian skateboarding vampire movie, Ana Lily Amirpour’s A Girl Walks Home Alone At Night is a quirky, stylish addition to the genre.
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Turning the camera upon himself for the third time, Jafar Panahi’s Taxi is a moving portrait of the politics of filming and the filming of politics.
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The emotional secrets of two families are revealed when an Iranian returns to Paris to finalise his divorce from his French wife.
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An ethereal wander through Japanese relationships, Abbas Kiarostami’s Like Someone In Love reveals the clumsy confusion of human communication.
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Following its own merciless and tragic logic, Asghar Farhadi’s divorce parable A Separation is deceptively straightforward, exposing the loss of humanity beyond bitter recriminations.