HeyJaredSiddhant Adlakha
- Indexed articles, last 90 days
- 5
- Latest publication
- Sep 24, 2026
- Outlet visibility, for observer.com
- Top 500K sites
- Earliest in this view
- Sep 9, 2026
Latest articles
Rodrigo Sorogoyen’s ‘The Beloved’ Stages a Father-Daughter Reckoning That Doesn’t Quite Cohere (opens the original)
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More interesting than alluring, Rodrigo Sorogoyen’s Cannes competition title and TIFF Special Presentation El ser querido (or The Beloved) follows a fearsome director trying to reconnect with his distant daughter by casting her in a role. It has the misfortune of bearing a passing familiarity to Sentimental Value, Joaquim Trier’s Norwegian Cannes darling and Oscar winner from last year, about a similar subject. However, the two films could not be more different in style and scope. For one thing,
Screening at Venice: May el-Toukhy’s ‘Woman Unknown’ (opens the original)
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A World War II movie whose violence is quiet and intimate, May el-Toukhy’s Kvinde ukendt, or Woman Unknown (which was awarded the prestigious Golden Lion at the Venice Film Festival), unfolds after Denmark’s liberation from Nazism, positioning it as a unique period drama about a delayed fanatical fuse. In it, a woman’s body becomes the battlefield, owing to suspicions of her past involvement with a Nazi officer. This yields a tale of survival during, and after, wartime, with a focus on winding h
Screening at Venice: Halkawt Mustafa’s ‘No Paradise If You Are Killed By a Woman’ (opens the original)
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A war film with a flimsy dramatic foundation, Halkawt Mustafa’s No Paradise If You Are Killed By a Woman is nonetheless evocative of real desolation. Following a Kurdish female sniper battling ISIS in Mosul—based on a real woman Mustafa met in 2014—the Venice Film Festival title (and Iraqi Oscar entry) boasts remarkable visual detail, in part because it was filmed on location in Mosul. However, this realistic backdrop is forced to contend with a lack of narrative inquiry into its heroine’s life
Screening at Venice: Nicolas Pariser’s ‘One Minute to Midnight’ (opens the original)
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A film of unassuming vigor, Nicolas Pariser’s Venice competition entry Un peu avant minuit (One Minute to Midnight) finds 49-year-old former writer Léo (Melvil Poupaud) on the precipice of personal and social change. The French drama is, for all intents and purposes, a post-#MeToo scholarly address that’s almost entirely about a man—not to mention, written and directed by one—but its self-reflexivity reveals a riveting feminist tome about the winds of cultural change, and the difficulty of de-ce
Screening at Venice: Phuttiphong Aroonpheng’s ‘The Burning Giants’ (opens the original)
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Disguised by straightforward drama, Phuttiphong Aroonpheng’s Yak Mai (The Burning Giants) reveals staggering abstractions, which lure you deeper into its political labyrinth. The Thai filmmaker draws on myth and cultural identity to spin a languid tale of mountainous smoke causing mysterious burns, and the ethnic minority subsequently made a scapegoat. Its echoes of the COVID-19 pandemic are overt, but Aroonpheng’s aim reaches wider and deeper, yielding audiovisual poetry that speaks to contempo
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Top 500K sites
For observer.com, the outlet · Measured Aug 1, 2026
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