By Paul Risker. As Rebels of the Neon God (1992) opens, one cannot help but be struck by the weighty feel of the images. It is perhaps something within the shot selection in Ming-Liang Tsai’s debut (now in release in the US), the framing and positioning of the actors in relation to the […]
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Ali Moosavi
A Producer’s Journey, from Tehran to Hollywood – Barry Navidi on Modi: Three Days on the Wing of Madness
Andrew Montiveo