Amir Soltani

festival programmer and occasional writer

Favorite films

  • In a Lonely Place
  • The Battle of Algiers
  • Where Is My Friend's House?
  • Tabu

Recent activity

  • Hedwig and the Angry Inch


  • The Naked City


  • Paris Is Burning


  • My Night at Maud's


Pinned reviews

  • Klute



    It's almost as if this was tailor-made for my taste. If there's ever been a film that managed to visualize the sense of paranoia with just the framing of every shot better than Klute does, I haven't seen it. A psychological thriller with expert camera work—the light vs. shadows games it plays, especially when framing Jane Fonda against others, is brilliant—and inescapably eerie music with two god-level performances, all while subverting (through actual therapy!) our expectations of the "saviour complex" trope in narratives about sex workers. What more can you ask for?

  • L'Avventura



    It's no mean feat to invent a whole new cinematic language through which bourgeois ennui and emotional detachment and existential crises can be studied by purely visual means, or to convey human emotions and psyches through landscape and architecture and, very often, without words altogether. This is a film in which the sight of a decaying monument or the sound of church bells or the smallest gesture of a hand can signify a world of meaning. I used to think…

Recent reviews

  • Hedwig and the Angry Inch

    Hedwig and the Angry Inch


    Still find the much more subdued Rabbit Hole to be Mitchell's best work.
    Visually and structurally, this is a very compelling film, but the music, which is of course integral to the plot, leaves a lot to be desired; and its sexual politics feel alternately dated, muddled or totally inexcusable.

  • The Naked City

    The Naked City


    Jules Dassin's name never pops up in my head when I think of my favourite filmmakers but pretty much every single one of his films that I've seen has blown me away.

Popular reviews

  • Nightmare Alley

    Nightmare Alley


    The modern Hollywood tendency to extend and expand and over-explain pre-existing material really buries this one. I've never really been a big fan of Del Toro, whose films feel soulless despite their extravagance, but his visual indulgences do actually make the first half of this film a bit livelier than Goulding’s version. And yet...that original film is by no means flawless and suffers from the director’s dull approach, but its problem certainly isn’t that it's too short, or that it…

  • Belfast



    Are TIFF audiences okay???