Centered on an Iranian community in a fictional Winnipeg-Tehran hybrid, the absurdist comedy is a joyous depiction of emphatically unalienated people.
Film
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What to Watch at MoMA’s Doc Fortnight Festival
From Cauleen Smith’s trilogy on volcanos to Philippe Parreno’s intimate exploration of Goya, here’s what to watch.
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The Tumultuous Journey of Faith Ringgold’s Rikers Mural
Catherine Gund’s Paint Me a Road Out of Here uses the artwork to tell truths about the US carceral system.
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At Sundance, Films Tackled Sex, Love, Gender, and the Law
Whether it’s catfishing clueless rich guys, catching sex predators on YouTube, or assisting a woman in conceiving a child, questions of legality often have little to do with morality.
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The Existential Crisis of Free Leonard Peltier
The film was made to agitate for the release of the wrongly imprisoned Indigenous activist. Despite last-minute edits after his clemency, it still shows some cracks.
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Zodiac Killer Project Is a Parody of the True Crime Genre
The documentary is an incisive critique of how cliché-bound the genre has become, encouraging viewers to ask more from it.
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The Story of the Godfather of Asian-American Media, Told by His Son
“The best film I could make was one that only I could tell as his son,” Tadashi Nakamura told Hyperallergic about legendary director Robert Nakamura.
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Not-to-Miss Documentaries at the 2025 Sundance Film Festival
Several nonfiction works playing at the festival are timely, whether in their current subject matter or relevant reflections on the past.
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Pepe Imagines a Hippo’s Perspective on Life
The film’s hippo protagonist demonstrates that stories about animal subjectivity can unveil many otherwise hidden absurdities of our society.
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Palestinian Film Centering Stories From Gaza Shortlisted for Oscars
Rashid Masharawi’s From Ground Zero weaves together the work of 22 Gazan filmmakers surviving through Israel’s continued attacks.
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The Return Is a Shabby CliffsNotes Version of the Odyssey
Homer’s Odysseus is complicated and playful — a man who has suffered, and is changed. Pasolini’s Odysseus squints, and occasionally flexes.
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The Emotional Valences of Brutalism
Historically, cinema has invoked the architectural movement as an easy shorthand for villainy. In The Brutalist, though, it embodies a proletarian dream.