The film does feel a little rough around the edges, but makes up for it with its big and bold heart, marking a stunning entry into Anderson’s already dazzling filmography. ADVERTISEMENTMarty SupremeThe energy is palpable in every frame of Josh Safdie’s first solo feature in 17 years. One of its biggest highlights is Adolpho Veloso’s evocative cinematography, with the film being shot in 99 per cent natural light. But Panahi does something surprising with this premise — in which former prisoners recognise and capture their sadistic interrogator — questioning whether revenge is the appropriate response to such treatment. The gripping tale of collective trauma culminates in a breathtaking final shot that shows us once again why Panahi is counted among the best.

Source: The Telegraph December 21, 2025 06:09 UTC