To watch 'Thirst' is to be pulled back into the body, is to be infected by it — it feels like a study in full immersion.

Izaac Wang perfectly brings to life Sean Wang’s vision, wearing Chris’ perspective with keen understanding and precision.

'The Sales Girl' is something much more defiantly alive than a traditional coming-of-age tale. 

Director Zarrar Kahn and producer Anam Abbas speak to the horror elements of their movie, 'In Flames,' and filming in Karachi.

'Merry Christmas, Mr. Lawrence' contains the desolation and whirling madness of life that Fyodor Dostoevsky wrote about so often.

'The Braid' never reckons with or acknowledges the unique impact the societal expectations explored in the film has on each woman.

More tender-hearted and observational than it is examinational, in effect working on a different plane than traditional documentaries.

Imran J. Khan directs his script with impeccable comedic timing that he shrewdly balances against substantial ideas

Time in 'In the Mood for Love' carries an urgency that feels pregnant, an intentionality that is unignorable.

Rama Rau discusses her documentary 'Coven' and the responsibility of filmmakers.