Using scenes from Hou Hsiao-Hsien’s Coming of Age’ trilogy, Pam Virada presents an entrancing, lyrical study of physical and psychological interiors shaped by spellbinding magic-realist stories.
With his father, grandfather and uncles involved in Burmese cinema in one way or another, Maung Okkar’s family history is inextricably entwined with Myanmar’s film history.
Arnont Nongyao’s ‘travelogue’ about his personal history and stories is a hallucinatory journey into a fog of glitch, noise and fragments of memories, where bliss resides in the fuzzy edges of meaning.
Using archival footage, Raya Martin resurrects the fraught history of Philippine film, which leads us to wonder about the future of cinema—as the film asks, “How do we watch movies without cinema?”
A close study of the cathartic final scene of Hindi box office hit Krantiveer (Brave Revolutionary), now a popular meme, reveals the instability of meaning and the power of one’s subjectivity.
The modern history of Uzbekistan is told through its cinematic history, focusing on the evolution of female heroine archetypes in Uzbek films.
Maja Korbecka offers a sharp, feminist analysis of two Chinese films made during different turning points in China’s history, both dealing with Mao’s campaign to ‘re-educate’ former sex workers.
In post-revolutionary Iranian cinema, the humble bag is often deployed as a surrogate for human touch, sometimes to hilarious effect.
A montage featuring scenes of soldiers’ deaths in Vietnamese propaganda war films reveals striking similarities, highlighting their crass nationalist agenda.
A multilayered, haunted film that invokes the spectres of Indonesian horror cinema to examine the othering of people on the peripheries.