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The 20 Best West Asian Films of 2020

Since, for the past few years we have intensified our coverage of films that do not belong in the S/SE Asia or the ASEAN countries, we decided, for the first time, to have a list that deals with movies from outside these regions, essentially including movies from all Asian countries that do not belong in the aforementioned three. The list is probably the most diverse, as it includes films from Israel, Kazakhstan, Iran, Afghanistan, Turkey, Palaistine and Kurdistan, although, expectedly, being one of the largest film industries in Asia, Iran has the lion's share.

Without further ado, here are the best West Asian films of 2020, in reverse order. Some films may have premiered in 2019, but since they mostly circulated in 2020, we decided to include them.

*By clicking on the title, you can read the full review of the film

20. The Death of Cinema and my Father (Dani Rosenberg, Israel)

“The Death of Cinema and My Father” is an intriguing blend of family drama and meta-film, combined with some socio-political comments. has managed to create an interesting, at times quite provocative feature about the relationship of father and son as a mirror of the narrative of a nation, while not shying away of some rather uncomfortable and at times even offensive scenes.(Rouven Linnarz)

19. Sweetie you Won't Believe it (Yernar Nurgaliyev, Kazahkstan)

Courtesy of PÖFF

‘Sweetie, You Won't Believe It' is a strangely well-plotted narrative that blends drama, comedy and horror into an irresistible hybrid.(Marina D. Richter)

18. The Translator (Rana Kazkaz and Anas Khalaf, Iran)

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Even if it feels like the film was based on true characters, “” is inspired by destinies of many people. Not the war, but the state of terror normal civilians were trying to oppose stands in the film's focus. In their directors' statement, and address the significance of peaceful protests across the globe who happen even in the face of death, adding that making a film about the revolution pales in comparison to those who risked their lives to participate, “The Translator” nonetheless represents the need to testify. (Marina Richter)

17. Asia (Ruthy Pribar, Israel)

“Asia” is a touching, intimate family drama by . Thanks to its formal brilliance and its cast, it tells a story which carries quite the emotional punch for its audience. (Rouven Linnarz)

16. Untimely (Pouya Esthehrdi, Iran)

” is a rather impressive feature debut by , especially in terms of visual storytelling. Supported by a committed lead performance by Iman Afshar, it is a provoking, often confusing story about guilt being a downward spiral in which a person can get caught quite easily. (Rouven Linnarz)

15. Careless Crime (Shahram Mokri, Iran)

”, the new feature by Iranian director , which is part of this year's Orizzonti competition during the Venice Film Festival, is based on the 1978 attack on the Cinema Rex in the city of Abadan which caused the death of 473 people trapped in the burning cinema. However, instead of recounting the chronology of the event, Mokri aims to show the relationship between cinema and (his-) story by directing a feature which presents the event in a much broader context (Rouven Linnarz)

14. Pari (Siamak Etemadi, Iran)

“With the refugee crisis that occupied the headlines in the not so distant past (the crisis is still here, but the headlines unfortunately moved on to something else), the trope evolved to a sub-genre of its own, to so-called migration cinema. On the surface, “”, a European co-production film by an Iranian filmmaker , could be confused with such a film. But this Berlinale title that premiered in Panorama section of the festival is something completely different: a unique cinema experience that defies simple labeling.” (Marko Stojiljković)

13. Midnight Traveler (Hassan Fazili, Afghanistan)

What makes “” stand out is its approach towards a subject that has been presented a number of times since 2015: forced immigration due to war. However, Fazili's effort does not focus on the dramatic aspect of his situation, but instead functions as a kind of home video of a family that struggles, but also knows how to laugh and enjoy the few good moments they experience in their travel. (Panos Kotzathanasis)

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12. The Wasteland (Ahmad Bahrami, Iran)

” has some moments that could be described as “too art-house” but 's cinematic eloquence is quite visible throughout the movie, by an artist who is bound to have an impact in the future. (Panos Kotzathanasis)

11. Ulbolsyn (Adilkhan Yerzhanov, Kazakhstan/ France)

The world “” briefly re-visits is stuck up in the past. Women eat in separate rooms, they are being locked in basements and beaten up in so called purification ceremonies that are supposed to chase the demons away. In other words, some kind of exorcism of free will and behavior that challenges the patriarchy. However, the main hero is full of surprises. When she's denied help by the police, she calls for her own army of armed professionals, and finally for a different kind of assistance.(Marina D. Richter)

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