American commercial cinema has long been dominated by men, but I don’t think there has ever been another time when women have been as underrepresented on screen as they are now. The biggest problem isn’t genuinely independent cinema, where lower budgets mean more opportunities for women in front of and behind the camera. The problem is the six major studios that dominate the box office, the entertainment chatter and the popular imagination. Their refusal to hire more female directors is immoral, maybe illegal, and has helped create and sustain a representational ghetto for women.

In scene after scene, meaning sneaks in and sometimes roars.

The weave of the personal and the political finally proves as irresistible as it is moving, partly because it has been drawn from extraordinary life.

That Ms. Farahani found Mr. Mohassess and persuaded him to share his story is a terrific coup, even if a great deal of his life's work remains elusive.

Paprika is evidence that Japanese animators are reaching for the moon, while most of their American counterparts remain stuck in the kiddie sandbox.

In 1963 ... The Vatican condemned Dr. No as a 'dangerous mixture of violence, vulgarity, sadism and sex.' Ka-ching!

Moment by moment, with a twitch, a shudder, a look, it’s Mr. Hardy who movingly draws you in, turning a stranger’s face into a life.