Celebrate the bt gay movi wh our list of the 50 most sential LGBTQ+ films ever ma
He’s assigned a 32-year-old gay garner who’s been abandoned by his iends and lovers as he go down memory lane, sharg his sights and lsons his fal days. In a documentary set urban Pakistan, a transgenr llege stunt, a gay man, a dancer, and Neeli stggle to live openly and fd acceptance of their sexualy.
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iRsSlw"><a class="RubricLk-gRWSOU fgWnkQ bric__lk" href="/culture/the-ont-row"><span class="RubricName-fVtemz cLxcNi">The Front Row</span></a></div></div></div><h1 data-ttid="ContentHearHed" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ ContentHearHed-NCyCC iUEiRd NbxED hpJvIc">Ten Movie Masterpiec to Stream on MUBI</h1></div><div class="ContentHearAccredatn-lfctVB cKRKZx ntent-hear__accredatn" data-ttid="ContentHearAccredatn"><div class="ContentHearByle-kmPyCa gvUmxJ"><span class="SpanWrapper-umhxW jvZaPI rponsive-asset ContentHearContributorImage-cvjZXn jKACOU"><picture class="RponsiveImagePicture-cWuUZO dUOtEa ContentHearContributorImage-cvjZXn jKACOU rponsive-image"><source media="(max-width: 767px)" srcSet=" 120w, 240w" siz="66px"/><source media="(m-width: 768px)" srcSet=" 120w, 240w" siz="66px"/><img alt="" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></picture></span><div class="ContentHearByleContent-dpPmNn DRFq"><div data-ttid="BylWrapper" class="BylWrapper-KIudk irTIfE byl ContentHearByl-cZqgyJ bqbBYQ"><p class="ByleWrapper-jWHrLH ivtvgj byle byl__byle" data-ttid="ByleWrapper" emProp="thor" emType="><span emProp="name" class="ByleNamWrapper-jbHncj fuDQVo"><span data-ttid="ByleName" class="ByleName-kwmrLn cYaBaU byle__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylePreamble-iJolpQ iUEiRd jslZfG gnILss byle__preamble">By </span><a class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLk-eNWuiM ByleLk-gEnFiw iUEiRd ggMZaT cXqSTL eErqIx byle__name-lk button" href="/ntributors/richard-brody">Richard Brody</a></span></span></p></div><time data-ttid="ContentHearPublishDate" dateTime="2021-01-22T18:24:50-05:00" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ ContentHearPublishDate-eIBicG iUEiRd kYZrFA kEBrdf">January 22, 2021</time></div></div></div></div><div class="LightboxWrapper-dxsWBV hhylRt"><div class="ContentHearLeadAsset-hGbumP iWPCcH lead-asset ContentHearLeadAssetWrapper-hfXHEc fTrSlG lead-asset--width-smallle" data-ttid="ContentHearLeadAsset"><figure class="ContentHearLeadAssetContent-kOfYSG dRGWbI"><div class="ContentHearLeadAssetContentMedia-bLEIpi jjhWdS lead-asset__ntent__photo"><span class="SpanWrapper-umhxW jvZaPI rponsive-asset ContentHearRponsiveAsset-bREgIb khLUzS"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz btVDnX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO KhjZz ContentHearRponsiveAsset-bREgIb khLUzS rponsive-image rponsive-image--expandable"><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w, 960w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w, 640w, 960w, 1280w, 1600w, 1920w, 2240w" siz="100vw"/><img alt="Two women speak on the beach." class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></picture></div></div></span><div class="CaptnWrapper-jSZdqE iTuhkZ ptn ContentHearLeadAssetCaptn-hPWmSN kuCzGS"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnText-bHjzlu iUEiRd hWyo iXWezO ptn__text">Kim M-hee and Isabelle Huppert star Hong Sang-soo’s drama “Claire’s Camera,” om 2017.</span><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnCred-ejegDm iUEiRd iicloT jbIJNS ptn__cred">Photograph urty Cema Guild</span></div></div></figure><div data-ttid="ContentHearLeadRailAnchor" class="ContentHearLeadRailAnchor-jYVcDc djtEof"></div></div></div></div></hear></div><div data-attribute-verso-pattern="article-body" class="ArticlePageContentBackGround-cNiFNN kbAoLA article-body__ntent"><div class="ActnBarWrapperContent-lasBkU cAHp"><div class="ActnBarWrapperComponent-cjwxLS bEeSLb"><div data-attr-viewport-monor="" class="ActnBarWrapper-dhxmQh kNjTbQ viewport-monor-anchor"><button id="bookmark" aria-label="Save this story" class="ActnBarButton-dyFOZU hQrwCF bookmark large-screen"><span class="ActnBarSendaryButtonPrimaryIn-isbvyN cAwccV bookmark-button-in"><svg class="in in-bookmark" width="24" height="24" viewBox="0 0 24 24" fill="none" xmlns="><tle>Save this story</tle><path class="in-bookmark-fill" d="M20 23.9508L12.5 19.7312L5 23.9508V2.95081H14V3.93211H6V22.1845L12.5 18.5536L19 22.1845V8.83866H20V23.9508Z"></path><path class="in-bookmark-fill" d="M23 3H20V0H19V3H16V4H19V7H20V4H23V3Z"></path></svg></span><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ ActnBarButtonText-bYXYuh iUEiRd bkefvo gkccfO">Save this story</span></button></div><div data-attr-viewport-monor="" class="ActnBarWrapper-dhxmQh kAEsuD viewport-monor-anchor"><button id="bookmark" aria-label="Save this story" class="ActnBarButton-dyFOZU cjjxgx bookmark mobile"><span class="ActnBarSendaryButtonPrimaryIn-isbvyN cAwccV bookmark-button-in"><svg class="in in-bookmark" width="24" height="24" viewBox="0 0 24 24" fill="none" xmlns="><tle>Save this story</tle><path class="in-bookmark-fill" d="M20 23.9508L12.5 19.7312L5 23.9508V2.95081H14V3.93211H6V22.1845L12.5 18.5536L19 22.1845V8.83866H20V23.9508Z"></path><path class="in-bookmark-fill" d="M23 3H20V0H19V3H16V4H19V7H20V4H23V3Z"></path></svg></span><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ ActnBarButtonText-bYXYuh iUEiRd bkefvo gkccfO">Save this story</span></button></div></div></div><div class="LightboxWrapper-dxsWBV hhylRt"><div class="ArticlePageChunksContent-etcMtP bwyLBj"><div data-ttid="ArticlePageChunks" class="ArticlePageChunks-fLyCVG Uozmo"><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 ArticlePageChunksGrid-hfxa bjczjj grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="BodyWrapper-kufPGa bDyAMU body body__ntaer article__body" data-journey-hook="client-ntent" data-ttid="BodyWrapper"><div class="body__ner-ntaer"><p class="has-dropp has-dropp__lead-standard-headg">Sce the <a href=">panmic</a> migrated pretty much all movie-viewg onle, several streamg s have rpond wh new levels of amb programmg. Among the most nspicuo is the Crern Channel (I’ve wrten recently about some of their most wele offergs, cludg “<a href=">Compensatn</a>” and “<a href=">When Tomorrow Com</a>”), but the se <em class="small">MUBI</em> (which is available as an Amazon channel) is dog remarkable work a b more unr the radar. This week, for stance, brought out “<a href=">About Some Meangls Events</a>,” a nearly lost masterwork of Morocn polil cema which for s had been entirely unavailable. <em class="small">MUBI</em>’s selectns cull some of the bt recently released movi as well as hard-to-fd classics, both Amerin and ternatnal, cludg some unduly obscure masterpiec that I’ve been enthg about for s to anyone wh earshot. Here are ten of them.</p><p class="paywall"><strong>“The Tree, the Mayor, and the Mediatheque”</strong></p><p class="paywall">Éric Rohmer is perhaps the most misunrstood great filmmaker: far om a mere charmg chronicler of tellectuals love, he reveals culture and reason to be opaque surfac that hold vlent passn visibly check. Which is to say, he’s a cematic philosopher—and, although his films are tensely psychologil, they also have a surprisg social and even polil dimensn, which is most clearly and dargly expound this film om 1993 (which has never had a regular U.S. theatril release). I nsir one of his two greatt films (jt behd “The Green Ray,” a.k.a. “Summer”); drops on <em class="small">MUBI</em> on January 26th. It’s set a small provcial town, where a lol schoolteacher (played by the dialectil wizard Fabrice Luchi, somethg of Rohmer’s alter ego) challeng the lol mayor, a Socialist hopg to improve and mornize the town by buildg a médiathèque, or multimedia library, on a plot of bare land adorned by an old tree that the teacher lov. The natnal ernment gets volved, as do a journalist for a leftist magaze, a Parisian novelist, the dghters of the mayor and of his adversary, and also an elrly philosopher (played by the real-life right-wg philosopher Jean Parvul—whose name viewers may regnize om “Breathls”). As wh most of Rohmer’s films, the actn pivots on accints that are nverted to a sort of sty—and, here, that sty isn’t jt personal. Rohmer offers a paradox of an athetic radilism, a fanaticism about bety and nature that reveals the thentic ial of culture and social progrs. A wondro ncludg mil sequence sets forth a surprisg visn—one that was then futuristic and is now monplace—of workg remotely, of urban jobs amid ral pleasur. (Rohmer’s rare first feature, “<a href=">The Sign of Leo</a>,” another visn of life hangg by threads of chance, is currently on the se.)</p><p class="paywall"><strong>“Mala”</strong></p><p class="paywall">One of the great morn lerary adaptatns, Werner Schroeter’s 1992 drama is also one of the great movi about a wrer. It’s based on the quasi-tobgraphil novel of the same tle by the meteoric Atrian wrer Ingeb Bachmann, and adapted by the Atrian wrer Elie Jelek (a Nobel Prize wner who’s bt known for another filmmaker’s adaptatn—Michael Haneke’s versn of her novel “<a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank">The Piano Teacher</a>”). It stars Isabelle Huppert as a wrer livg a state of chaotic creative fury and romantic tensn. She has one longtime lover, a burecrat who unofficially manag her reer, and tak another lover, a young paterfaias, while stterg her lerary brilliance letters sent and unsent, terviews livered to unprehendg journalists, and an impulsive enzy of daily life that is self an astoundg and self-nsumg work of art. The lerary artistry of the script and the story are matched by Huppert’s performance, which is at once wildly fervent and chillgly lucid, and by Schroeter’s display of style: shriekgly flected angl, lurid streaks of lor, and a scene of fire that turns hallucatory symbolism to a terrifygly realistic menace.</p><p class="paywall"><strong>“Atlantics”</strong></p><div data-attr-viewport-monor="le-recirc" class="le-recirc-wrapper le-recirc-observer-target-1 viewport-monor-anchor"></div><p class="paywall">I’ve long thought that great directors n be revealed their first image, and Mati Dp’s first film, a short, om 2009—which provis the sence, ntent and tone, for her extraordary first feature of the same name—do exactly that, even though ’s hard to know what ’s even an image of. A pair of gears are turng, extreme closp, a gray darkns illumated by the wan and rhythmic gleamg of a regularly flashg light; while they turn, a scratchily rerd voice reunts, Wolof, the dangers and terrors of an ocean crossg a pirogue. The image is apparently that of a tape rerr—and the rt of the fifteen-mute film, filled wh poignant and powerful talk along wh keenly textured posns and sharp dramatic portraure, operat at a siar level of imagative spiratn. It’s the story of a young Senegale man named Serigne (played by Serigne Seck) who is unemployed, pennils, and impatient to embark on a dangero, clanste ocean journey to reach Spa; his iends (also playg themselv), aware of the danger, attempt to ter him. The film’s brief span ntas personal experience, vtigative polics, a supernatural dimensn—and a climactic, myster image, of a lighthoe bean snng the ocean, that has a mighty symbolic power. Dp’s feature versn (available on Netflix) is one of the most imprsive feature débuts of recent years, and s pleasur and wonrs are heightened by viewg s ias at the source.</p><div><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--article-mid-ntent" role="prentatn" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--article-mid-ntent nsumer-marketg-un__slot---ntent"></div><div class="journey-un"></div></div></div><p class="paywall"><strong>“Distant Voic, Still Liv”</strong></p><le-embed name="feature-flt" attrs="[object Object]" childTyp="image" ntentType="llout:feature-flt"><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed"><div class="AssetEmbedAssetContaer-eJxoAx dBHGoQ asset-embed__asset-ntaer"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset"><picture class="RponsiveImagePicture-cWuUZO KhjZz AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset rponsive-image rponsive-image--expandable"><noscript><img alt="Image may nta Pete Postlethwae Human Person Clothg and Apparel" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src=" srcSet=" 120w, 240w, 320w, 640w, 960w, 1280w, 1600w" siz="100vw"/></noscript></picture></span></div><div class="CaptnWrapper-jSZdqE iTuhkZ ptn AssetEmbedCaptn-fNQBPI fmQnYP asset-embed__ptn"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnCred-ejegDm iUEiRd iicloT jbIJNS ptn__cred">Photograph om Alamy</span></div></figure></le-embed><p class="paywall">Terence Davi’s first feature, om 1988, is a thrillg fn of genr: an tobgraphil reverie that brgs the moods and ton of postwar Liverpool vividly to light, a ightengly harsh visn of life unr the threat of an abive father’s vlent rage, and also a virtual mil that, whout any productn numbers, ptur the hntg memori of Davi’s own foundatnal athetic tn. It’s a fay story, which a brother and two sisters, their voted and terrorized mother, pl their wi web of relatns and neighbors listen to rerds and the rad, watch movie mils, and, above all, sg—and Davi, whose manner is both gently exquise and breathlsly exalted, films the spontaneo rounds of song at big parti and sual gathergs wh a rapt admiratn for the creative energy that endowed daily stggl wh hopeful bety. The father is played by Pete Postlethwae wh screen-burstg power.</p><p class="paywall"><strong>“L Coquillett”</strong></p><p class="paywall">Sophie Letournr, France’s most mumblere-like director, b the loosely stng riffg of three young Parisian women (all of whom e their real nam, and one of whom is played by Letournr herself) wh flashbacks to their nflictg memori of what happened the prev summer at the Lorno Film Ftival (where Letournr’s real-life short film “The Shady Sailor” had screened). In effect, “L Coquillett,” om 2012, blends the bs-centered practili of Andrew Bujalski and the memory play of Ala Rnais together wh a giddy documentary fn that’s entirely Letournr’s own. (The ftival scen feature a performance by a film cric and meos by a wi range of film-dtry notabl, cludg the actor Louis Garrel, wh whom the character of Sophie is obssed.) The tle refers to the maroni that the women eat while they remisce, and ’s only one of many entri the idsyncratic vobulary wh which Letournr endows the characters’ eewheelg, whimsil attentn to the earnt matters of love, sex, and ambn. (Letournr’s latt film, “<a href=">Enormo</a>,” om 2020—featurg two French movie stars teractg wh a large st of real-life doctors, midwiv, and other profsnals—is also streamg on the se.)</p><p class="paywall"><strong>“Sprg Night Summer Night”</strong></p><p class="paywall">Amerin pennt filmmakg is hnted by s loss and near-loss. Joseph L. Anrson’s first feature, om 1967, suffered a cel fate: was schled to be screened at the New York Film Ftival 1968, was <a href=">belatedly removed</a> to make room for John Cassavet’s film “Fac,” went undistributed, and then was recut and released unr a different tle as an exploatn film, to be redisvered s origal form only s later. The movie is a blend of timate lol realism and myth-drenched symbolism; ’s set ral Oh, a town that’s stgglg enomilly owg to the cle of the mg bs, and centered on a young woman who be pregnant wh her half-brother’s child. The story is built on elrs’ memori of the town’s boom years durg the Send World War, on the gossip of townspeople, on the wrenchg menace of the Vietnam War, and on a mood of long-settled ways of life beg torn apart at the seams. Filmg black-and-whe, wh cematography rangg om the urgently observatnal to the starkly abstracted, Anrson tch the overarchg historil force of private passns. (His send feature, “<a href=">Ameri First</a>,” om 1972, scribed as a metafictn about the makg of a documentary, has, as far as I n tell, not been released at all.)</p></div></div></div><div class="GridItem-buujkM fVLMby grid--em grid-layout__asi"><asi class="PersistentAsiWrapper-VGrR daRVRt persistent-asi" style="posn:absolute;top:to;height:to" data-ttid="PersistentAsiWrapper"><div class="StickyBoxWrapper-jfYB jxBcTH sticky-box"><div class="StickyBoxPrimary-dzWDWL cdhYoN sticky-box__primary"><div class="AdWrapper-dQtivb fZrssQ ad ad--rail"><div class="ad__slot ad__slot--rail" data-no-id="hg6t1p5"></div></div><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--display-rail" role="prentatn" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--display-rail"></div><div class="journey-un"></div></div></div><div class="StickyBoxPlaceholr-grPmrg dxAvXx"></div></div></asi></div></div><div class="RowWrapper-UmqTg HEhan full-bleed-ad row-mid-ntent-ad"><div class="StickyMidContentAdWrapper-fSBzwl drzyIa ad-stickymidntent"><div class="AdWrapper-dQtivb fZrssQ ad ad--mid-ntent should-hold-space"><div class="ad__slot ad__slot--mid-ntent" data-no-id="ylwzet"></div></div></div></div><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 ArticlePageChunksGrid-hfxa bjczjj grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="BodyWrapper-kufPGa bDyAMU body body__ntaer article__body" data-journey-hook="client-ntent" data-ttid="BodyWrapper"><div class="body__ner-ntaer"><p class="paywall"><strong>“Claire’s Camera”</strong></p><div data-attr-viewport-monor="le-recirc" class="le-recirc-wrapper le-recirc-observer-target-2 viewport-monor-anchor"></div><p class="paywall">It’s among the marks of progrs cril acumen and art-hoe programmg that the South Korean director Hong Sang-soo, who has been among the century’s most prolific directors, has bee a morn classic asmuch as his method is an exemplary reactn of the classic styl of morn cema. His sense of story is also a sense of form, and his many scen of extend dialogue turn realism si out wh their far-reachg implitns. He’s also among the most ternatnal of morn directors, wh a particular attachment to France and the French cema, which provis him wh a ready standpot to crique Korean culture and mor. This 2017 drama, featurg Hong’s send llaboratn wh Isabelle Huppert, is set at and around the Cann Film Ftival and is centered on a Korean woman named Manhee (played by Kim M-hee, Hong’s partner), who is workg wh a Korean pany there until she’s sudnly fired. Wanrg town, Manhee enunters a French teacher and amatr photographer (Huppert), and their rapid iendship prompts flashbacks which Manhee reflects on her firg—and on her affair wh a Korean director who has a film at the ftival. The briskly trite actn enfolds multiple levels of time and multiple perspectiv long dialogue scen and Claire’s Polaroid photos; the power and the stat of talk and imag get a theoretil workout the poignant urse of the two women’s bond and the protagonist’s personal and profsnal nfn.</p><p class="paywall"><strong>“Butter on the Latch”</strong></p><p class="paywall">Josephe Decker’s first feature, which I saw at s première, at the 2013 Maryland Film Ftival, is a cematic high om which I haven’t yet e down. It’s an pe-om-Brooklyn drama, which one young woman on the verge of a streetsi breakdown fle to a Balkan arts mp ral California and meets a iend there, another woman who be her nfidante and then, when a man tch her eye, her romantic rival. The tale of lt and rage, plicy and nflict, is energized by the mic and dance that they study and perform, and is hnted by the vourg force of nature which the mp, and their rivalry, is set. Wh the cematographer Ashley Connor (whose llaboratn wh Decker is among the most uful recent years), Decker bends and shreds the very nature of the image wh dartg, paterly movements and manipulatns of foc. Fur emotn fds fur exprsn performance, dialogue, dramatic actn, and the movie’s turbulent visual and sonic textur; ’s among the most immersively sensory, live-wire-stimulatg of all movi.</p><p class="paywall"><strong>“Fake It So Real”</strong></p><p class="paywall">Robert Greene, the theoretician--chief of expand nonfictn, directed this 2012 documentary about a group of profsnal wrtlers North Carola who are tryg to tablish and make a succs of an pennt league. The sence of morn documentary is real-life performance and the filmmakers’ nspicuo role elicg ; here, Greene is the wrtlers’ ccial terlocutor. The film is no mere set of observatns, though s view of actn behd the scen and the rg reveals the practil exertns and the physil agoni that the sport mands. Rather, the wrtlers speak ndidly of their self-aware craftg of rg personae and philosophize, virtual arias to the mera, about their ambns and the price that they pay to fulfill them. The center of the story is the personal sacrifice and thentic trma, the blood and the pa, that go to the creatn of their elaborate fictns.</p><div class="Contaer-bkChBi byNLHx"></div><p class="paywall"><strong>“Tehran Taxi”</strong></p><le-embed name="feature-flt" attrs="[object Object]" childTyp="image" ntentType="llout:feature-flt"><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed"><div class="AssetEmbedAssetContaer-eJxoAx dBHGoQ asset-embed__asset-ntaer"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset"><picture class="RponsiveImagePicture-cWuUZO KhjZz AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset rponsive-image rponsive-image--expandable"><noscript><img alt="Two olr women lift a goldfish s bowl to the back of a r." class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src=" srcSet=" 120w, 240w, 320w, 640w, 960w, 1280w, 1600w" siz="100vw"/></noscript></picture></span></div><div class="CaptnWrapper-jSZdqE iTuhkZ ptn AssetEmbedCaptn-fNQBPI fmQnYP asset-embed__ptn"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnCred-ejegDm iUEiRd iicloT jbIJNS ptn__cred">Photograph urty New Wave Films</span></div></figure></le-embed><p class="paywall">Copg wh the unbearable circumstanc of a ban on filmmakg, hoe arrt, and the nstant threat of rceratn, the Iranian director Jafar Panahi has vented ways of filmg that reflect and acknowledge the terrifyg threats while challengg and fyg the regime that impos them. In this wry, tenr, and nontatnal film, om 2015, Panahi impersonat a taxi-driver and, when necsary, explas away the mera that he plac on his dashboard as a secury measure. It is, rather, what he to make the film, exultg the mere pleasure of beg public while dog , sentially, private, and pturg his dialogu wh his passengers (non-actors, apparently staged, fx-random enunters)—as wh his niece, Hana, who is makg a film for school and whose difficulti are a microsm of art unr opprsn, and wh Nasr Sotouh, a civil-rights attorney who had been a polil prisoner earlier the and is now imprisoned aga. The nversatns give rise to a panorama of Iranian life and thought as played out wh the nf of the r and the neighborhoods and s that Panahi driv to. His dashboard mera and a cellphone mera his hand work like soclogil X-rays, revealg the prsur of ernmental power and relig thory simple daily teractns.</p><p class="paywall"><em>This post has been updated to clu a scriptn of the short film “Atlantics,” which is showg on <em class="small">Mubi</em>. A prev versn of this post scribed the feature film of the same name, which is streamg on Netflix.</em></p></div></div></div><div class="GridItem-buujkM fVLMby grid--em grid-layout__asi"><div class="StickyBoxWrapper-jfYB jxBcTH sticky-box"><div class="StickyBoxPrimary-dzWDWL cdhYoN sticky-box__primary"><div class="AdWrapper-dQtivb fZrssQ ad ad--rail"><div class="ad__slot ad__slot--rail" data-no-id="fm9f"></div></div><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--display-rail" role="prentatn" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--display-rail"></div><div class="journey-un"></div></div></div><div class="StickyBoxPlaceholr-grPmrg dxAvXx"></div></div></div></div></div><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 PaywallInleBarrierWhWrapperGrid-fyrGfS kLQIUk grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="body body__le-barrier article__body"><div class="ntaer ntaer--body"><div class="ntaer--body-ner"><asi class="PaywallInleBarrierWrapper-iBnuqk lfXXa-D" data-ttid="PaywallInleBarrierWrapper"><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--paywall-le-barrier" role="prentatn" aria-live="pole" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--paywall-le-barrier"></div><div class="journey-un"></div></div></asi></div></div></div></div></div></div></div><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 ContentWrapperGrid-fvkmBv brYtrA grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="body body__ntaer"><div class="ntaer ntaer--body"><div class="ntaer--body-ner"></div></div></div></div></div></div></article><div class="ContentFooterWrapper-jVNdRG dTJkpP ArticlePageContentFooterGrid-ccsXYy eMZRHU article-body__footer"><div class="RowWrapper-UmqTg HEhan"><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"></div></div></div><div class="RowWrapper-UmqTg HEhan"><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="ContributorsWrapper-eNpWFu GWFsc ntributors" data-ttid="Contributors"><div class="ContributorBWrapper-bnVHbt gMon"><div class="ContributorBAvatar-bIGTqf eMWbvj"><a href="/ntributors/richard-brody"><span class="SpanWrapper-umhxW jvZaPI rponsive-asset"><picture class="RponsiveImagePicture-cWuUZO dUOtEa rponsive-image"><source media="(max-width: 767px)" srcSet=" 120w, 240w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w" siz="100vw"/><img alt="" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></picture></span></a></div><div class="ContributorBContent-ubQdr jZTSSi"><div class="ContributorBHear-ledood XOIEx"></div><div class="ContributorBB-fBolsO giFhKz"><a href="/ntributors/richard-brody">Richard Brody</a> began wrg for The New Yorker 1999. He wr about movi his blog, <a href=">The Front Row</a>. He is the thor of <a href=">“Everythg Is Cema: The Workg Life of Jean-Luc Godard</a>.”</div><div class="ContributorBFooter-brqDlv ezUmSv"></div></div></div></div></div></div></div><div class="RowWrapper-UmqTg HEhan"><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div data-ttid="TagCloudWrapper" class="TagCloudWrapper-gGgndx ctyZyK ContentFooterTagCloud-krQmRG ZLGh"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ TagCloudSectnHear-cOforY iUEiRd bPyAoD kQQRmu">More:</span><a href="/tag/movi" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLk-eNWuiM TagCloudLk-kvjZFu iUEiRd ggMZaT gFob hIhJOI"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ TagCloudName-eAUnLd iUEiRd gwIVBQ bUkXwu">Movi</span></a><a href="/tag/film" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLk-eNWuiM TagCloudLk-kvjZFu iUEiRd ggMZaT gFob hIhJOI"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ TagCloudName-eAUnLd iUEiRd gwIVBQ bUkXwu">Film</span></a><a href="/tag/films" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLk-eNWuiM TagCloudLk-kvjZFu iUEiRd ggMZaT gFob hIhJOI"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ TagCloudName-eAUnLd iUEiRd gwIVBQ bUkXwu">Films</span></a><a href="/tag/cema" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLk-eNWuiM TagCloudLk-kvjZFu iUEiRd ggMZaT gFob hIhJOI"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ TagCloudName-eAUnLd iUEiRd gwIVBQ bUkXwu">Cema</span></a><a href="/tag/streamg" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLk-eNWuiM TagCloudLk-kvjZFu iUEiRd ggMZaT gFob hIhJOI"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ TagCloudName-eAUnLd iUEiRd gwIVBQ bUkXwu">Streamg</span></a><a href="/tag/reviews" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLk-eNWuiM TagCloudLk-kvjZFu iUEiRd ggMZaT gFob hIhJOI"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ TagCloudName-eAUnLd iUEiRd gwIVBQ bUkXwu">Reviews</span></a></div></div></div></div><div data-ttid="ContentFooterBottom" class="ContentFooterBottom-jwWZfC kcbyiW"><div class="ContentFooterNewsletterContentWrapper-bmjtna kixtae"><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div data-ttid="NewsletterSubscribeFormWrapper" class="NewsletterSubscribeFormWrapper-fCqqkN jKSBhE newsletter-subscribe-form ContentFooterNewsletterForm-hKeYwa liPqcf"><div data-ttid="NewsletterSubscribeFormHedDekWrapper" class="NewsletterSubscribeFormHedDekWrapper-fpMElW eglIBL"><h3 class="NewsletterSubscribeFormDangeroHed-kRwWjt kbxOa-D newsletter-subscribe-form__hed ContentFooterNewsletterForm-hKeYwa liPqcf">Gogs On</h3><div class="NewsletterSubscribeFormDek-kXonvc cKOhTM newsletter-subscribe-form__k">What we’re watchg, listeng to, and dog this week, onle, N.Y.C., and beyond. 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class="SummaryItemContent-eiDYMl bcywvc summary-em__ntent"><div class="RubricWrapper-dKmCNX kImuKS bric bric--disvery SummaryItemRubric-dguGKN fYiFyD summary-em__bric"><span class="RubricName-fVtemz cLxcNi">The Front Row</span></div><a class="SummaryItemHedLk-civM cZPaWG summary-em-trackg__hed-lk summary-em__hed-lk" data-ponent-type="recirc-river" data-recirc-id="em-hed-1" data-recirc-pattern="summary-em" href="/culture/the-ont-row/a-supprsed-masterwork-of-morocn-polil-cema-is-sudnly-streamg" target="_self"><div class="SummaryItemHedBase-hiFYpQ iIjKeM summary-em__hed" data-ttid="SummaryItemHed">A Supprsed Masterwork of Morocn Polil Cema Is Sudnly Streamg</div></a><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb USLvL summary-em__image-lk summary-em-trackg__image-lk" href="/culture/the-ont-row/a-supprsed-masterwork-of-morocn-polil-cema-is-sudnly-streamg" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-1" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="A Supprsed Masterwork of Morocn Polil Cema Is Sudnly Streamg" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd jxOIpm cPtisA summary-em__k">“About Some Meangls Events,” redisvered four s after was banned, is a still darg blend of artistic imagatn and social nontatn.</div><div class="SummaryItemByleWrapper-boCfbi cuRXdL summary-em__byle-date-in"><div class="SummaryItemBaseByle-fFbXkY cgDBtc summary-em__byle"><div class="summary-em__byle__ntent"><div data-ttid="BylWrapper" class="BylWrapper-KIudk irTIfE byl"><p class="ByleWrapper-jWHrLH dSEWiO byle byl__byle" data-ttid="ByleWrapper" emProp="thor" emType="><span emProp="name" class="ByleNamWrapper-jbHncj fuDQVo"><span data-ttid="ByleName" class="ByleName-kwmrLn cYaBaU byle__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylePreamble-iJolpQ iUEiRd jslZfG gnILss byle__preamble">By </span>Richard Brody</span></span></p></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff ewgXAt summary-em summary-em--article summary-em--no-in summary-em--text-align-left summary-em--layout-placement-text-below-sktop-only summary-em--layout-posn-image-right summary-em--layout-proportns-33-66 summary-em--si-by-si-align-center summary-em--si-by-si-image-right-mobile-false 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siz="100vw"/><img alt="“One Night Miami,” Reviewed: Rega Kg’s First Dramatic Feature Is a Feast of Performance" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl bcywvc summary-em__ntent"><div class="RubricWrapper-dKmCNX kImuKS bric bric--disvery SummaryItemRubric-dguGKN fYiFyD summary-em__bric"><span class="RubricName-fVtemz cLxcNi">The Front Row</span></div><a class="SummaryItemHedLk-civM cZPaWG summary-em-trackg__hed-lk summary-em__hed-lk" data-ponent-type="recirc-river" data-recirc-id="em-hed-2" data-recirc-pattern="summary-em" href="/culture/the-ont-row/one-night--miami-reviewed-rega-kgs-first-dramatic-feature-is-a-feast-of-performance" target="_self"><div class="SummaryItemHedBase-hiFYpQ iIjKeM summary-em__hed" data-ttid="SummaryItemHed">“One Night Miami,” Reviewed: Rega Kg’s First Dramatic Feature Is a Feast of Performance</div></a><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb USLvL summary-em__image-lk summary-em-trackg__image-lk" href="/culture/the-ont-row/one-night--miami-reviewed-rega-kgs-first-dramatic-feature-is-a-feast-of-performance" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-2" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="“One Night Miami,” Reviewed: Rega Kg’s First Dramatic Feature Is a Feast of Performance" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd jxOIpm cPtisA summary-em__k">The enunter of four Black cultural hero outleaps s timate spe to illumate historic chang.</div><div class="SummaryItemByleWrapper-boCfbi cuRXdL summary-em__byle-date-in"><div class="SummaryItemBaseByle-fFbXkY cgDBtc summary-em__byle"><div class="summary-em__byle__ntent"><div data-ttid="BylWrapper" class="BylWrapper-KIudk irTIfE byl"><p class="ByleWrapper-jWHrLH dSEWiO byle byl__byle" data-ttid="ByleWrapper" emProp="thor" emType="><span emProp="name" class="ByleNamWrapper-jbHncj fuDQVo"><span data-ttid="ByleName" class="ByleName-kwmrLn cYaBaU byle__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylePreamble-iJolpQ iUEiRd jslZfG gnILss byle__preamble">By </span>Richard Brody</span></span></p></div></div></div></div></div></div><div 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class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd jxOIpm cPtisA summary-em__k summary-em__k--isCneVio">In the film “Ash to Ash,” avid “Star Wars” fan and master leatherwork artist Wed Rembert nnects wh his ar iend Shirley Jackson Whaker, who is on a missn to memorialize the four thoand fotten Ain-Amerins lynched durg the Jim Crow era.</div></div></div><div class="SummaryItemWrapper-iwvBff ewgXAt summary-em summary-em--ARTICLE summary-em--no-in summary-em--text-align-left summary-em--layout-placement-text-below-sktop-only summary-em--layout-posn-image-right summary-em--layout-proportns-33-66 summary-em--si-by-si-align-center summary-em--si-by-si-image-right-mobile-false summary-em--standard SummaryCollectnGridSummaryItem-WColm dqlGhv" role="button" tabx="0"><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb USLvL summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-4" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="Iphigenia Fort Hills" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl bcywvc summary-em__ntent"><div class="RubricWrapper-dKmCNX kImuKS bric bric--disvery SummaryItemRubric-dguGKN fYiFyD summary-em__bric"><span class="RubricName-fVtemz cLxcNi">A Reporter at Large</span></div><a class="SummaryItemHedLk-civM cZPaWG summary-em-trackg__hed-lk summary-em__hed-lk" data-ponent-type="recirc-river" data-recirc-id="em-hed-4" data-recirc-pattern="summary-em" href=" target="_self"><div class="SummaryItemHedBase-hiFYpQ iIjKeM summary-em__hed" data-ttid="SummaryItemHed">Iphigenia Fort Hills</div></a><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb USLvL summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-4" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image 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