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Kino Lorber

Blu-ray: Mario Bava’s ‘Kill, Baby… Kill!’

The title may sound like a serial killer thriller but Mario Bava’s Kill, Baby… Kill (Italy, 1966) is a Gothic ghost story with haunting images, grotesque edges, and glorious style. Think of it as Bava’s answer to a Hammer horror, with hysterical superstition and suspicion of outsiders replacing the lurid sexuality of Hammer’s Victorian horrors and Bava’s rich palette setting an altogether more expressionist atmosphere.

Kino Classics

Shooting exteriors on location in rural mountain villages of picture-postcard medieval stone dwellings and labyrinthine streets, Bava creates a fairy tale world of an oppressively provincial 19th century village in the grip of a curse. At least that’s the explanation of the townspeople who dismiss the scientific investigation of Dr. Paul Eswai (Giacomo Rossi Stuart), a coroner from the city called into determine if Irena (Mirella Pamphili), a young woman whose death by impaling opens the film, was murdered or committed suicide. The villagers know—she is the latest victim of a curse upon the village—and do everything they can to drive the coroner and Inspector Kruger (Piero Lulli), the city investigator, from their insular little village. With the help of Monica (Erika Blanc), who was born in the village but sent away to school and has recently returned, Paul is determined to find the true cause of the inexplicable deaths plaguing the village.

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Silents Please! – ‘Beggars of Life’ with Louise Brooks, ‘Varieté’ from Germany, and more

Catching up on some of the silent films released to Blu-ray and DVD in the past months…

Beggars of Life (Kino Lorber)

Kino Lorber

William Wellman was one of the most versatile directors of his day, making everything from comedies and musicals to gritty dramas and war movies, and his World War I epic Wings (1927) won the first Academy Award for Best Film, but in the late 1920s and 1930s he directed some of the most interesting films about struggles before and during the depression. Beggars of Life(1928) was made before the stock market crash but released in the aftermath, so while it’s not technically a response to the Depression, its portrait of hoboes riding the rails and forming a kind of outsider society was in tune with the times. Today, however, it is best known for Louise Brooks, the petit dancer turned actress who never became a star in America in her lifetime but starred in two great German silent films, Pandora’s Box and Diary of a Lost Girl, and became a cult figure in retirement.

Brooks is Nancy, a young woman who kills her violent stepfather in self-defense (presented as a flashback, it’s a startling and powerful scene which Brooks underplays with haunting pain), and Richard Arlen is Jim, a boyish beggar who stumbles across the body and helps her escape. He dresses her in men’s clothes and teachers her how to ride the rails with the rest of the tramps on the road, landing in a rough hobo camp where Oklahoma Red (Wallace Beery) rules through intimidation. Figuring out that this delicate “boy” is actually a girl (and seriously, who was she fooling?), he claims Nancy as his property and puts the couple through a kangaroo court, a great scene that straddles comedy and horror. Beery delivers a big, blustery performance as he transforms from predator to protector, the handsome Arlen at times he reminded me of a young Paul Newman, and Brooks is incandescent in her best role in an American films (she immediately left for Europe to make the movies that made her reputation).

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Blu-ray/DVD: The Sicilian Clan

Three of the great icons of French crime cinema team up for The Sicilian Clan (France, 1969) (Kino, Blu-ray, DVD). Jean Gabin is Vittorio Manalese, the head of the Sicilian Manalese clan in Paris, Alain Delon the reckless, amoral French criminal and killer Roger, who hires Vittorio’s clan to spring him from custody, and Lino Ventura Commissaire Le Goff, the man who captured Roger. After Roger escapes, Le Goff struggles with is efforts to give up smoking.

The film opens with a terrific escape, not from prison but from prison transport in the chaos of a traffic snarl, in a nicely-engineered sequence crisply directed by Henri Verneuil. No guns needed here—the Manalese clan doesn’t kill during their capers—and Vittorio is wary of Roger, a loner who has killed more than one cop in his robberies, as he puts him up in a private apartment above the family home. But when Roger brings a big jewel heist his way, he agrees to partner up and proceeds to find a New York partner and case the target: an exhibition hall in Rome with state-of-the-art security. Vittorio meets up with distant New York mob cousin Tony Nicosia (played with dapper charm by Amadeo Nazzari), who he hasn’t seen for thirty years, and they slip into instant rapport and easy friendship as if no time has passed as they case the Rome exhibit. When they find the new technology impenetrable, Vittorio comes up with a new plan: hijacking the flight delivering the jewels to New York City in a genuine family affair.

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Best Blu-ray & DVD releases of 2016

We’ve been hearing people pronounce the death of DVD and Blu-ray for years now. You’d never know it from the astonishing wealth of Blu-ray debuts, restored movies, and lovingly-produced special editions in 2016. The sales numbers are way down from a decade ago, of course, thanks in large part to the demise of the video store, which drove sales of new movies to fill the new release rental racks. The studios still handle their own new releases on disc but many of them have licensed out their back catalog to smaller labels—some new, some longtime players—who have continued to nurture the market for classics, cult films, collectibles, and other films from our recent and distant past. Criterion, Kino Lorber, Shout! Factory / Scream Factory, Twilight Time, Arrow, Olive, Blue Underground, Flicker Alley, Raro, MVD, Cinelicious, and others have continued to reach those of us who value quality and deliver releases that, if anything, continue to improve. We prefer to own rather than rely on compromised quality of streaming video and the vagaries of licensing and contracts when it comes to movies.

2016 has been as good a year as any I’ve covered in my years as a home video columnist and paring my list of top releases down to 10 was no easy task. In fact, I supplemented it with over two dozen bonus picks and honorable mentions. My approach is a mix of historical importance, aesthetic judgment, quality of presentation, and difficulty of effort. It is an unquantifiable formula influenced by my own subjective values but you’ll see some themes emerge. I favor films that have never been available in the U.S. before, significant restorations, discoveries, and rarities. But I also value a beautiful transfer, well-produced supplements, insightful interviews and essays, and intelligently-curated archival extras. You’ll see all these in the picks below.

Out1Box1 – Out 1 (Kino Lorber / Carlotta, Blu-ray+DVD) – This was my cinematic Holy Grail for years, Jacques Rivette’s legendary 12-hour-plus epic of rival theater companies, an obsessive panhandler, a mercenary street thief, an obscure conspiracy, the post-1968 culture of Paris, puzzles, mysteries, creative improvisation, and the theater of life. The history is too complicated to go into here (check out my review at Parallax View) but apart from periodic special screenings it was impossible to see until a digital restoration in 2015 followed by a limited American release in theaters, streaming access, and finally an amazing Blu-ray+DVD box set featuring both the complete version (Noli me tangere, 1971 / 1989) and the shorter Out 1: Spectre (1974), designed for a theatrical release after French TV balked at his original vision. It was shot on 16mm on the streets with a minimal crew and in a collaborative spirit, incorporating improvisations and accidents and morphing along the way. The disc release embraces the texture of its making and also includes the new documentary “The Mysteries of Paris: Jacques Rivette’s Out 1 Revisited” and an accompanying 120 page bilingual booklet. There were more lavish sets and more beautiful restorations on 2016 home video, but nothing as unique and committed as this cinematic event, which made its American home video debut over 40 years after its first showing. Full review here.

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Blu-ray: ‘99 River Street,’ ‘Shield for Murder’ and ‘Hidden Fear’

99 River Street99 River Street (Kino Lorber, Blu-ray), released in 1953, is one of most underappreciated film noirs of the 1950s and arguably the greatest film by Phil Karlson, the toughest film noir director, and certainly his most beautifully brutal, a film driven by the fury of a man who is tired of being life’s punching bag. Karlson developed the film with John Payne, the former star of musicals and light romantic comedies who remade himself as a tough guy star. They had worked together in the lean, mean, twisty cult film noir Kansas City Confidential (1952), a film that inspired Quentin Tarantino, and hatched the story for this follow-up together.

The film opens on a boxing match shot Weegee style: spare, bright, all close-ups and hard light on our boxer hero, Ernie Driscoll (John Payne), getting one of the fiercest beatings I’ve seen in a classic Hollywood film. The kicker to this prologue is too good to spoil, but suffice it to say that it is just one of the inventive storytelling inspirations that both enlivens the film and informs the character. Ernie was once a contender and while he still relives that fight in his head, he’s rolled with the blow and come up with a new plan. Not so his wife (Peggie Castle), who hitched herself to this rising star in anticipation of the high life and ended up in a crummy apartment and a job slinging drinks at a cocktail bar. She’s got plans and it involves a sleazy thief (Brad Dexter, playing it with an arrogant, greedy twinkle) and a fortune in jewels that his own arrogance has made worthless. He needs a patsy and Ernie is his guy.

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Blu-ray / DVD: Oscar winner ‘The Big Short’ and Guy Maddin’s ‘Forbidden Room’

Big ShortThe Big Short (Paramount, Blu-ray, DVD, VOD) – Adam McKay is not necessarily the guy you look to for dramatic outrage at the greed and failure behind the economic collapse of the last decade. He is, after all, the director who guided Will Ferrell through such comedies as Anchorman, Talladega Nights, and The Other Guys. Yet here he is, adapting Michael Lewis’ nonfiction book on the reasons behind the financial collapse and coming away with a hit movie, five Academy Award nominations, and an Oscar win for Best Adapted Screenplay (shared with Charles Randolph).

The Big Short is serious and angry. It’s also very funny, which is its secret weapon. What’s a subprime mortgage? Here’s Margot Robbie in a bubble bath to explain it to you. Need to explain what a CBO is without driving audiences away? How about Selena Gomez at a casino?

In the hands of McKay and his co-conspirators, the financial fraud of the 2000s is nothing short of a criminal farce with dire consequences. For us, that is, not the folks who perpetrated the crisis out of greed, criminal neglect, and reckless abandon. In this company of thieves and accomplices, the heroes of this story are a few men who saw through the façade and proceeded to bet against the house. They are, of course, outliers with idiosyncrasies.

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Blu-ray / DVD: Jacques Rivette’s nouvelle vague magnum opus ‘Out 1’ restored and reclaimed

Out1BoxJacques Rivette’s Out 1 (Kino Lorber / Carlotta, Blu-ray+DVD) has been one of the Holy Grails of international cinema since its premier screening in 1971. Rejected by French TV and, at over 12 1/2 hours in its initial cut, too long for theaters, the definitive editions wasn’t even completed until 1989. It showed on French and German TV but apart from periodic special screenings (including a handful of showings in the U.S. and Canada in 2006 and 2007) was impossible to see.

That changed in 2015 with a French digital restoration from the original 16mm negatives, a high-profile two-week run in New York (qualifying as the film’s American theatrical debut) followed by screenings across the country (including Seattle), streaming availability from the arthouse subscription service Fandor and a late 2015 disc release in France. Now 2016 brings this amazing Blu-ray+DVD combo box set release. It features not only the 13-hour Out 1: Noli me tangere (1971 / 1989) but the shorter Out 1: Spectre (1974), designed for a theatrical release after French TV balked at his original vision, plus an accompanying documentary and a booklet.

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Videophiled: ‘Killer Cop’

KillerCopGiven the title of Killer Cop (Raro / Kino Lorber, Blu-ray, DVD) a 1975 poliziotteschi from Italy, you might expect a rogue cop thriller, and ambitious young Commissario Matteo Rolandi (Claudio Cassinelli), a rising officer on a major drug case, certainly has good reason to go rogue. His case gets caught up in a major terrorist bombing and his best friend (Franco Fabrizi), a workaday veteran with a fidgety nature and a streak of bad luck, is murdered for stumbling across the prime suspect. He’s frustrated that he’s been bounced from the case by the Prosecutor General, a serious, stone-faced legend of dogged duty who has the unlikely nickname “Minty” (because he keeps popping breath mints while working a case) and is played by American star Arthur Kennedy (dubbed in Italian of course), so when his drug investigation winds back into the bombing he conducts his own investigation. It turns out the Prosecutor has his reasons for keeping the case close to the vest: the police force, the justice department, the entire political system in Milan is riddled with corruption and he doesn’t know who he can trust.

The northern capital of Milan, the symbol of modernity and progress in the Italian cinema of the 50s and 60s, is the epitome of official corruption and the urban mob in the crime cinema of the 70s. The violence here, however, is no mob war or message from the criminal underworld. It’s not even a terrorist attack, at least not as defined by the traditional “war on terror” yardstick. It’s… well, I’m not really sure, but as the masterminds explain it, “It was only supposed to be a demonstration.” The best I can figure is that it’s a conspiracy rooted in a cabal of industrialists, government officials, and mobsters and it is designed to stir things up. Which pretty much vindicates the fears of both Rolandi and Minty, who keep tripping over each other with a frequency that makes them both suspicious.

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Videophiled: ‘A Girl Walks Home Alone at Night’

A Girl Walks Home Alone at Night (Kino Lorber, Blu-ray, DVD, Netflix), written and directed by California-based and Iranian-born filmmaker Ana Lily Amirpour, is a genre film with a fresh approach and a distinctive cultural texture: a vampire movie from a female director who stirs American movie references into her stylized Iranian street drama.

The Girl (as she is identified in the credits), played by Sheila Vand (Argo), walks the streets (and at one point rides a skateboard) of the ominously-named Bad City in a chador, but underneath wears a striped blouse that could have been borrowed from Jean Seberg in Breathless and her basement room is adorned in pop music posters. Arash (Arash Marandi), the son of a heroin addict father in debt to a drug-dealing pimp, seems to model himself on James Dean, right down to the white T-shirt, black leather jacket and blue jeans. (The pimp, meanwhile, who fashions himself an East LA gangbanger.) Of course they cross paths and The Girl, who exercises a measure of morality in choosing her meals, allows him to woo her. Why not? They’ve both already robbed the same gangster (she took jewelry and his CDs, he grabbed the cash and the drugs).

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Videophiled: Alain Resnais’ ‘Life of Riley’

LifeofRileyLife of Riley (Kino Lorber, Blu-ray, DVD) – It is curious that Alain Resnais, who was the most narratively experimental and ambitious of directors at the birth of the nouvelle vague in France, spent the last two decade of his filmmaking career melding cinema and theater in productions that are both highly theatrical and uniquely cinematic. Life of Riley, the final film from the director (he passed away in 2014, a few months after the film’s debut), is his third adaptation of British playwright Alan Ayckbourn and, like his penultimate feature You Ain’t Seen Nothing Yet (2012), revolves around the theater. In this case it’s an amateur production, a play within a play that we only get in glimpses of rehearsals interrupted by disagreements and digressions. The biggest digression is their friend George Riley, who has been diagnosed with terminal cancer. He never appears on screen but his presence looms over the film and his actions stir the drama between the three couples of the story: suburbanites Kathryn and Colin (Sabine Azéma and Hippolyte Girardot), wealthy friends Tamara and Jack (Caroline Sihol and Michel Vuillermoz), and George’s ex-wife Monica (Sandrine Kiberlain) now living on a farm with the older Simeon (André Dussollier).

“Drama” may not be the right word. The play itself is a pleasant frivolity, a mix of bedroom farce (without the bedrooms), romantic comedy, and self-aware theater that opens on the first day of rehearsals and ends after closing night, with a coda that brings us back to the themes of mortality and emotional connection. Resnais was 90 when he made the film and it is surely no coincidence that his final two features raise a glass to life by facing death and mortality.

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Videophiled: Jacques Rivette’s Paris in ‘Le Pont du Nord’

Making its stateside home video debut on Tuesday, February 17, is Jacques Rivette’s Le Pont du Nord (Kino Lorber, Blu-ray, DVD), a dark sister film to his more buoyant and whimsical Celine and Julie Go Boating. Longtime collaborator Bulle Ogier stars with her daughter, Pascale Ogier, and they co-wrote the film with Rivette and Suzanne Schiffman, which gives the characters and their journeys a decidedly female perspective, a hallmark of many of Rivette’s films. It also channels his love of puzzles, games, fantasy, and conspiracy with a story that tosses the two women together in Paris and sends them on an odyssey through the city, following clues and hopping through neighborhoods like they are squares in a massive boardgame with fatal stakes.

Marie (Bulle Ogier) arrives in the back of a pick-up truck—she’s spent the last few years in prison—with the intention of tracking down her old lover. Baptiste (Pascale Ogier) rides in on a moped, challenging a motorcycle rider like a kid playing matador and stepping off to slash the eyes from posters and placards. Marie is older, experienced, practical, disillusioned yet still hopeful, and she’s afflicted by a crippling claustrophobia that prevents her from even stepping inside stores. Baptiste is young, dreamy, a believer in fate and magic, and possibly unstable (her reflexive defacing of public imagery seems more compulsion than artistic statement). She’s also unfailingly loyal. When Baptiste sees that Marie’s criminal boyfriend Julien (Pierre Clémenti) is involved in shady business dealings, she appoints herself Marie’s guardian and takes the lead in investigating the contents of Julien’s briefcase, which includes newspaper clippings of political assassinations and of Marie’s criminal past. What’s the connection?

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Videophiled: ‘Adua and Her Friends’

AduaAdua and Her Friends (Raro / Kino Lorber, Blu-ray) are prostitutes from a Rome brothel attempting to take charge of their own lives after their place is shut down in the aftermath of Italy’s Merlin Law, which ended legalized prostitution in 1958 (the film was released in 1960). Adua (played by Simone Signoret), a veteran of the life, has a plan to open a restaurant as a front for their own little brothel in the rooms upstairs and her friends—cynical and hot-headed Marilina (Emmanuelle Riva), naïve and trusting Lolita (Sandra Milo), and practical Milly (Gina Rovere)—pitch in for the purchase and start-up and fake their way through running a real business. Adua may be a dreamer but she has a lot invested in this project. She’s the oldest of the four and, as anyone familiar with the films of Mizoguchi will attest, life on the streets isn’t forgiving of age. But what really charges up the film is the feeling of accomplishment and ownership as they work their way through each problem and, almost without noticing, create a successful business out of the restaurant.

For all the stumbles along the way, director Antonio Pietrangeli and his screenwriting partners (which includes future director Ettore Scola and longtime Fellini collaborator Tullio Pinelli) don’t play the disasters for laughs but rather a mix of warm character piece and spiky social commentary. It’s not simply that their pasts follow them around but that the Merlin Law has actually made things worse for women, whether they remain in the life (without any legal protections) or attempt to transition into another career. Palms need to be greased and officials cut in on the business; they haven’t even started up and they’re already paying off a pimp. And no, it’s not Marcello Mastroianni’s Piero, a charming hustler who hawks cars and woos Adua, who enjoys engaging in a romance that she gets to define for a change. He’s a pleasant distraction and something of an ally, but he’s better at looking out for himself.

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Videophiled Best of 2014 on Blu-ray and DVD

The death of Blu-ray and DVD has apparently been prematurely called. Streaming and cable VOD still dominates home viewing but Redbox and other kiosk-based disc vendors have kept disc rentals alive (if not quite robust) and Blu-ray remains the format of choice for movie collectors and home theater enthusiasts, keeping sales robust enough to bring new players into the business. Kino Lorber expanded its release schedule with a Kino Classics collection of titles from the MGM/UA catalog and distribution deals with Cohen, Raro, Redemption, and Scorpion. Shout Factory has ventured into restorations and special editions as well as new partners (like Werner Herzog). Warner Archive has increased their flow of Blu-rays with some substantial titles presented in high-quality editions. Twilight Time has made its own limited edition business plan work and started adding more supplements to their releases, including original commentary tracks from the company’s film history brain trust.

This is my highly subjective take on the best disc releases of 2014 (of those I had the opportunity to watch and explore), with extra points for heroic efforts and creative archival additions. Note that this is strictly domestic releases—I do have import discs but I don’t have many and I barely have the time to keep up with American disc releases—and are as much about the importance of the release as the quality of the disc.

1. The Complete Jacques Tati (Criterion, Blu-ray and DVD) collects all six features he directed (including alternate versions of three films) and seven shorts he wrote and/or directed, plus a wealth of other supplements. Of the six features on this set, all but Playtime make their respective American Blu-ray debuts and two appear on disc for the first time in the U.S. From his debut feature Jour de Fête (1949) to the birth of both M. Hulot and the distinctive Tati directorial approach in his brilliant and loving Monsieur Hulot’s Holiday (1953) through the sublime Playtime (1967) to his post-script feature Parade (1974), this set presents the development of an artist who took comedy seriously and sculpted his films like works of kinetic art driven by eccentric engines of personality. The amiable oddball Monsieur Hulot was his most beloved creation, a bemused outsider navigating the craziness of the modern world, but unlike the films of Chaplin, Tati’s screen alter ego is just a member of an ensemble. A gifted soloist to be sure and the face of the films, but a player who weaves his work into the larger piece. Tati made comedy like music and this collection celebrates his cinematic symphonies. Playtime reviewed here.

2. The Essential Jacques Demy (Criterion, Blu-Ray+DVD Dual-Format set) offers the definitive American disc releases of six of the defining films of Jacques Demy, the Nouvelle Vague‘s sadder-but-wiser romantic, from his 1961 debut Lola to his 1982 Une Chambre en Ville, which makes its American home video debut here. Like so many of his fellow directors, Rivette loved American movies, especially musicals, but his taste for American musicals and candy-colored romance was balanced with a bittersweet sensibility. For all the energizing music and dreamy love affairs, his romances more often than not don’t really get happy endings. The films include his two most famous musicals, The Umbrellas of Cherbourg (1964) and The Young Girls of Rochefort (1967), as well as four early shorts—Les horizons morts (1951), Le sabotier du Val de Loire (1956), Ars (1959), and La luxure (1962)—plus two documentaries on Demy made by his widow Agnes Varda, a small library of archival TV programs on the films, and the hour-long visual essay “Jacques Demy, A to Z” by James Quandt. Full review here.

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Silents Please!: ‘The Cabinet of Dr. Caligari’ and ‘Verdun’ restored

CabinetCaligariThe Cabinet of Dr. Caligari (Kino Lorber, Blu-ray, DVD, streaming) is the grandfather and the godfather of German Expressionist cinema and one of the most influential films of its era. Directed by Robert Weine, it features Werner Kraus as the tyrannical Dr. Caligari, a sideshow barker in cape and top hat who commands the sleeping Cesare (Conrad Veidt), the carnival’s star attraction, to rise at night and do his bidding, a literal sleepwalker who is both monster and victim. With its painterly sets of jutting beams, leaning walls and heavy black lines painted on flats and arranged to suggest both a skewed sense of depth and a forced perspective that flaunts its artificiality, the film dropped audiences into an aggressively unreal world and celebrated its theatrical artifice as a vision of madness and horror. It set the style for a movement, influenced a generation of filmmaker from Fritz Lang and Universal horror movies, and created images so vivid they are still referenced today. This is a movie that has seen some awful home video releases over the years but even the superior presentations (the Image DVD from Film Preservation Associates and the previous Kino DVD from an earlier Murnau Foundation edition) have suffered from damaged footage, missing frames, and inferior source material.

The Friedrich Wilhelm Murnau Foundation (which previously spearheaded the astounding restoration of the definitive Metropolis) undertook the comprehensive digital restoration of this landmark using for the first time ever the original camera negative as the primary source (previous releases were taken from archival prints), with additional footage from the best of the existing archival prints. It was a two year project and the efforts are visible in every frame of this reclamation; the difference between Kino’s previous DVD and this stunning new restoration is night and day. The image is not just clean and free from much of the damage seen on earlier editions, missing frames and footage has been restored and the image is now sharp and strong, with deep blacks, vivid contrasts, and unprecedented clarity, stability, and detail.

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Videophiled: Mohammad Rasoulof’s ‘Manuscripts Don’t Burn’

ManuscriptsBurnWhat’s most startling about Mohammad Rasoulof’s 2013 Iranian thriller Manuscripts Don’t Burn (Kino Lorber, DVD, Netflix) is its audacity. Iranian filmmakers have a history of couching its criticisms of life in Iran in metaphor. This film puts its portrait of authoritarian oppression out in the open.

We open on a contract murder that plays like an American gangster picture dropped into dusty slums outside Tehran, then take a circuitous route through the workings of a totalitarian state that intimidates and terrorizes its intellectuals and dissident writers. Along with the web of writers connected by censored and suppressed works, we follow the thugs doing the dirty work for the vindictive minister of the security services, including a man whose motivation is simply money to pay for his son’s operation (it’s not a corny as it sounds). He’s constantly stopping along the route to see if the money has reached his account, interruptions that keep the political horror story firmly framed within the banalities and anxieties of everyday life.

The script is complicated and a little confusing, stirring in characters who appear without introduction, and it gets a little repetitive in the second act, but it seems churlish to complain that such a provocative, covertly-made portrait of the Iranian government as a brutally repressive regime could “use a little cutting.” The confusion sorts itself out as the intimidation turns into outright terrorism, 1984 by way of The Godfather, while an inspired formal twist puts the whole ordeal on continuous loop, a cycle of never-ending despotism. There are echoes of The Lives of Others in the routine surveillance of citizens but this is more confrontational and brutal and Rasoulof hasn’t the safe distance of exploring a fallen regime. His targets are current and he puts a target on his chest for his efforts. For that reason, he’s the only artist on the film who takes credit; the other names are hidden for fear of reprisals (we assume the actors are expatriates safely out of country). The film was, of course, banned in Iran and Rasoulof (against the advice of friends) returned home to Iran after premiering the film at Cannes (where it won the FIPRESCI Prize), where a prison sentence hangs over his head. His passport has been revoked and he is unable to see his family, whom he has already moved out of country. That’s some sacrifice.

In Persian with English subtitles. No supplements. Also available to stream on Netflix.

More new releases at Cinephiled

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