One of the world’s great cinematic artists, Jafar Panahi has been carefully crafting self-reflexive works about artistic, personal, and political freedom for the past three decades, despite his oppression at the hands of the Iranian government. Now, as the international film community vehemently denounces his summer 2022 arrest and continued imprisonment for his vocal support of a fellow artist’s independence, Panahi has gifted us all with a new virtuosic sleight-of-hand. In NO BEARS, as in many of his recent titles, Panahi plays a fictionalized version of himself, in this case relocated to a rural border town to remotely direct a new film in nearby Turkey - the story of which comes to sharply mirror disturbing events that begin to occur around him. As he struggles to complete his film, Panahi finds himself thrust in the middle of a local scandal, confronting the opposing pulls of tradition and progress, city and country, belief and evidence, and the universal desire to reject oppression.
This boldly cinematic trio of stories about love and loss, from Krzysztof Kieślowski was a defining event of the art-house boom of the 1990s. The films are named for the colors of the French flag and stand for the tenets of the French Revolution—liberty, equality, and fraternity—but that hardly begins to explain their enigmatic beauty and rich humanity. Set in Paris, Warsaw, and Geneva, and ranging from tragedy to comedy, Blue, White, and Red(Kieślowski’s final film) examine with artistic clarity a group of ambiguously interconnected people experiencing profound personal disruptions. Marked by intoxicating cinematography and stirring performances by such actors as Juliette Binoche, Julie Delpy, Irène Jacob, and Jean-Louis Trintignant, Kieślowski’s Three Colors is a benchmark of contemporary cinema.
The Hong Kong crime drama was jolted to new life with the release of the Infernal Affairs trilogy, a bracing, explosively stylish critical and commercial triumph that introduced a dazzling level of narrative and thematic complexity to the genre with its gripping saga of two rival moles.
The release of François Truffaut’s The 400 Blows in 1959 shook world cinema to its foundations.