Film

Jafar Panahi made Taxi, his seventeenth film, in 2015, despite the fact that the director has been under a government-imposed 20-year ban from filmmaking for “spreading propaganda against the system.”

No Man is an Island interviewed Kelvin Chan Kin-long (陳健朗), the director of Hand Rolled Cigarette (手捲煙).

A Holy Day of Obligation meant we weren’t in the classroom for a couple of hours. Instead, we were in church—which can be entertaining, or at least interesting if it’s a cool church full of statues and art and stained glass and candles.

A prominent feature of post-colonial Nigeria was a remarkable fondness for everything white. This included western education and white-collar jobs, leading to the demonization of certain informal professions. For some reason, artists were among the most reviled.

Documentarians Steven Rosenbaum and Pamela Yoder discuss their new film, The Outsider, about the construction of the 9/11 Museum and Memorial and why it feels so cut off from New York City and from the last 20 years.

The glories of art and music in Nigeria before independence, in a new documentary

Afghanistan's troubled film history, examined in a new documentary

Who you gonna be tonight

The Accidental President recycles the same tired messages that media pundits have been repeating since 2015.

SWINGIN’ (輕鬆搖擺) aims to be a charmful, cute, and playful story, even as it touches on contemporary social issues still debated in Taiwanese society. The short film tells the story of eleven-year-old elementary schooler Qiu Qiu, who has two gay fathers, one of which is his biological father.

There is no natural disaster in "Executive Order," a new Brazilian film starring Alfred Enoch, but the world is ending all the same. Centering on three Black people and a distinctly Black perspective, the film takes on human-made disaster, effectively eviscerating white power structures and narratives along the way.

A Review of Last Year When the Train Passed By (去年火車經過的時候). According to director Huang Pang-chuan (黃邦銓), the motivation for shooting the short film began with a whim—he took a photo while passing by a town on train one day and later began to wonder about the inhabitants of the houses that he had photographed.

Used to be a time when there were worries that African films could hardly compete with their global counterparts. But as the Sundance entries prove, those days may be long gone. The critics have been near universal in their praise and so have the festival juries and industry awarding bodies.