Essays – Tina Hassannia

TIFF retrospective on Elaine May looks beyond the flop Ishtar to her underappreciated body of work

Agnès Varda is more than a meme

Thirty years later, Star Trek: The Next Generation still offers valuable lessons about humanity

What is there not to love about TIFF? Introverts will tell you very quickly: lots of things

Warmest Color: Human connection is no illusion in Rohmer’s The Green Ray

Learning to Let Go: The Beauty of the Big Ears Festival

Another Way of Being a Woman

The feminist mystique of Underworld and Resident Evil

Moonlighting as a Lover: 25 Years of Chantal Akerman’s Nuit et Jour

LO AND BEHOLD, the Internet, and the Movies

Dial R For Rohmer

Why motherhood is not for everyone and shouldn’t have to be

An appreciation: How Abbas Kiarostami’s films demystified Iran for Western audiences

Sofia Coppola’s Marie Antoinette at 10

Whit Stillman’s Barcelona: What It Means To Be A Good Person

The women in Abbas Kiarostami’s cinema

All About Eve: The Lady Eve at 75

Straight Outta Trauma: The struggles and triumphs of 2015’s music films

Wild Canaries: A Manhattan Murder Mystery

Backstreet’s Back: A Critic’s Story

Nightcrawler For You

The Past: An Iranian in Paris

History of Film: Network

The Nature of Truth: Errol Morris’s The Thin Blue Line

Female Homelessness in Agnès Varda’s Vagabond and Kelly Reichardt’s Wendy and Lucy

Intolerable Cruelty

Still Life

On the alleged decline of Iranian cinema, and why Like Someone in Love is an Iranian film

La Chienne (1931) vs. Scarlet Street (1945)

Knocked Up