Ali Qavitan, the independent director of the Iranian cinema, has decided to make a film about Sohrab Sepehri, a contemporary Iranian painter and poet, due to his apparent resemblance to him. However, in order to reach Sohrab Sepehri’s thoughts and romances, he travels to Kashan, the hometown of the painter-poet. Inspired by the surroundings, the countryside and the gardens he starts discovering new aspects of the poet’s childhood and middle-aged days, as well as the last days of his life, when he was concerned about completing the story of his book Blue Room.
“To be universal, you have to get specific”: while the film does not attempt to provoke discussions about queerness or race, those watching closely may find something resonant in Sorrentino’s love letter to the Naples of his youth.
In this high-flying mission, the pups gear up with jets to stop the Duke of Flappington and save Barkingburg.
Shudder’s Host (not a particularly original title, I must say) attempts to bring the spooks to “the quarantine generation” by presenting us with a scary Zoom call during lockdown.
For the most part, 'Sweet Girl' recycles tired hyper masculine revenge tropes, but a surprise twist in the end turns it into a female-centric revenge film.
While the director didn't set out to make a feminist film, "A Girl Walks Home Alone At Night" reads as a reclamation of female power in a patriarchal society.
Juneteenth is a day to commemorate the emancipation of enslaved people in the United States on June 19th, 1865. We did it! Everyone is free! Everyone is equal! End of story, right?
