Author: Hamidreza Nassiri

Hamidreza Nassiri is a PhD candidate in Film Studies at the University of Wisconsin-Madison. His dissertation examines the influence of digital technologies in media industries on democracy and social justice on local and global levels, with a focus on Iranian cinema. He also founded and directed the Wisconsin Iranian Film Festival for two years, was the programming director of the first Midwest Video Poetry Festival, and the executive director and jury member at the 3rd Globe International Silent Film Festival. Hamidreza is a filmmaker. His last short film, IMMORTAL (2018) became finalist and semi-finalist in several film festivals. He has taught film production and film studies for years, in college and in community. In 2019, after receiving the Humanities Exchange (HEX) Award, he ran free filmmaking workshops for underrepresented communities in Madison, Wisconsin. In 2021, he ran a free digital storytelling workshop for working class people of color in Madison. He was also the Educational Development Fellow at the Arts + Literature Laboratory, a non-profit dedicated to democratizing art and art education in Dane County, from 2019 to 2020.

Never look away is, first and foremost, the story of an artist who struggles to find his voice under the pressure of state and society’s imposed restrictions. As such, it is one of the most relevant films for this time—and for that matter, probably any time. This is the story of the people who challenge the dominant discourse—whether it is imposed by the state, the society, the media, or the professionals—and the price they pay for it. At the same time, through the life of a doctor, the film depicts how the lying powerful could stay in power, as they…

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Two women of different generations are involved in a traditional ceremony, preparing the younger woman for something. This is how Birds of Passage (Pájaros de verano) starts—Colombia’s entry for Best Foreign Language Film in Oscar that has made it to the shortlist. Soon, we find out that the young woman (Zaida) has officially become a woman and her mother (Úrsula) is making her ready for the announcement and taking a man. Rapayet, from another family, asks for her hand, but two issues work as barriers for him: one, his family, that is considered lower than Zaida’s, and second, money, to…

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Tyler has left his family to have a weekend with a friend and his friend’s buddies. Tyler quickly finds out that he is the only black person in the crowd. The white crowd gradually turns out to be made up of anti-Trump liberals with racist and sometimes homophobic and transphobic biases. (The name of the film actually comes from one of those friends calling him Tyrel instead of Tyler, establishing the lack of connection from the very beginning.) The theme of “racist liberal whites” has been at the center of a few films, especially over the past two years, since…

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What makes a family? Love? Blood? Both? Neither? This is the central theme of Shoplifters, another great drama by Kore-eda Hirokazu and the winner of Palme d’Or in 2018. The film has a tendency to reveal the information to the audience gradually. What looks like a complete family in the beginning, a family that tries to give shelter to a little girl, step by step turns out to be a group of people who have gotten together to “form” a family, a family they want, not one they were born into. Some of the characters explicitly state their thought about…

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