
Clash (Eshtebak) movie review: the view from inside social upheaval
Challenging and provocative, but the limitations it places on itself restrict the appreciation for anyone not already steeped in its culture and politics.

Challenging and provocative, but the limitations it places on itself restrict the appreciation for anyone not already steeped in its culture and politics.

Cinema as a punch in the gut and not for the squeamish, casting female desire as ravenously predatory in a way that few films have ever had the audacity to do.

The intrigue, shifting alliances, and twisted revenge? Delicious, pulpy fun. The male-gazey soft-core porn that undermines the female protagonists? Not so much.

My favorite of the nominees is “Sing,” a movie for right-now with its pushback against a bullying authority figure and its gently effective defiance.

I would give the Oscar in a three-way tie to the Syrian-themed nominees, which offer stunningly intimate observations on the ongoing humanitarian crisis.

This delicately realized portrait of an intellectual Tehran couple could easily be taking place in New York, London, or Tokyo. The empathy machine strikes again.

A sinister tapestry of urban unease and feminist fury that turns an ordinary domestic setting into a place of skulking terror. Original and deeply creepy.

Meet the dedicated young lawyers and activists who prosecuted and convicted the first person ever to go to prison for genocide and wartime rape.

Problems with authenticity don’t detract from the power of a story about a teen girl pursuing a challenging sport amongst beautiful Mongolian landscapes.

A slow-burn battle between a woman and the developers trying to drive her from her home is a melancholy meditation on aging, memory, and family.