

I watched this film five years ago and never finished my review. Here’s what I wrote at the time compared to AI-generated text …
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I watched this film five years ago and never finished my review. Here’s what I wrote at the time compared to AI-generated text …
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What a gem this Iranian three-handed drama is! Ali Jaberansari is a writer/director to watch.
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Rasoul Sadrameli creates an interesting exploration of gender and friendship in contemporary Iran.
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There’s a lot to like about this debut feature by Panah Panahi, son of Iranian legend Jafar Panahi (Three Faces, Tehran Taxi).
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A three-hour film better be pretty good and I went into this drama by Saeed Roustayi (Just 6.5 (2019)) well-caffeinated and expecting to be immersed in Iranian life.
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Even though it’s two hours long, there isn’t a minute wasted in this taut thriller that shines a light on the precariousness of being a woman in Iran.
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It’s a relief to watch an Asghar Farhadi film that returns to the morally complex form of his earlier films like A Separation (2011) and The Past (2013). His dip into Hollywood with Everybody Knows (2018) was a disappointment for those who love his exploration of Iranian culture.
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Firouzeh Khosrovani constructs a surprisingly tender collage of her parents’ lives that shows the fractures caused by the Iranian Revolution.
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I couldn’t look away for the 150 minutes of Mohammad Rasoulof’s intense meditation on the death penalty, told through four stories of individuals who are part of the system of capital punishment in Iran.
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This simple and joyful film, ostensibly about a young band trying to navigate flood waters to get to Tehran for an audition, hides a deeper meaning about the challenges for young Iranians.
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