Iranian filmmaker Jafar Panahi (The White Balloon, The Mirror) takes a giant step forward with his third feature (2000), shifting his focus from little girls to grown women and presenting such a scorching look at what they put up with in their daily lives that it’s no surprise the film was banned in his native country. This masterpiece is radical in form as well: it begins one morning in a hospital and ends that evening in a jail cell, the camera revolving 360 degrees in each space, and its narrative passes from one character to the next as in Luis Bu