‘Holy Spider’ Review: A Taut, True-Crime Procedural Tangled in the Wicked Web of Iranian Patriarchy

Channel 4 A Place in the Sun star Jonnie Irwin’s wife has suffered an awkward wardrobe malfunction while on a Spanish holiday with the TV star. Jonnie, aged 48, took to social media to reveal the moment. It came as they were abroad in Spain.

Nick Vivarelli International CorrespondentGlobal arthouse movie streamer, producer and distributor MUBI has acquired all Turkish rights to Iranian director Saeed Roustaee’s timely Cannes title “Leila’s Brothers.”A female empowerment drama set against the backdrop of a family crushed by debts linked to international economic sanctions, “Leila’s Brothers” won the International Federation of Film Critics (Fipresci) prize for best film in Cannes’ main competition.  The film, which is Roustaee’s third feature, follows from his tense actioner “Just 6.5,” about a cop trying to pin down a drug lord.

The Chairman is calling everyone to order.

Naman Ramachandran Streamer and distributor MUBI has acquired Ali Abbasi’s Cannes Film Festival competition title “Holy Spider” for the U.K., Ireland, Latin America and Malaysia. The film will be released theatrically followed by an exclusive MUBI streaming release. The film follows family man Saeed as he embarks on his own religious quest — to “cleanse” the holy Iranian city of Mashhad of immoral and corrupt street prostitutes.

MUBI has acquired rights to Cannes hit Holy Spider for the UK, Ireland, LatAm and Malaysia.

Peter Debruge Chief Film CriticIn “Leila’s Brothers,” a once proud, now pathetic Persian family teeters on the brink of ruin, held together by the assertive sister who’s tired of relying on men to decide her fortune. Taking matters into her own hands may be empowering to watch — there’s no question that “The Salesman” alum Taraneh Alidoosti, who plays Leila, towers over this male-dominated ensemble — but it’s also a recipe for potential tragedy in Iranian writer-director Saeed Roustaee’s novelistic, nearly-three-hour saga, his first to be selected for Cannes.Some audiences may recognize Roustaee from another turbulent family portrait, “Life and a Day” (2016), whereas it was his terrific cop thriller “Just 6.5” (2019) — the closest thing Iran has produced to “The French Connection,” still unreleased in the U.S.

review of the film for TheWrap, Ben Croll wrote that Abbasi with “Holy Spider” turns the murder thriller “upside down, telling a story where the killer’s identify is never in doubt and his intentions are always crystal clear, and where the greatest source of tension comes from wondering whether anyone in power will lift a finger to stop him.”Abbasi wrote “Holy Spider” with Afshin Kamran Bahrami. Sol Bondy and Jacob Jarek produced the film.

Nick Vivarelli International CorrespondentDanish-Iranian director Ali Abbasi’s boundary-pushing serial killer thriller “Holy Spider has been acquired by U.S. sales and distribution company Utopia for North America.Based on a real Iranian crime case, “Holy Spider” – which made a major splash when it premiered in the Cannes competition on Sunday – is about a family man named Saeed (Mehdi Bajestani) who becomes a serial killer as he embarks on his own religious quest to “cleanse” the holy Iranian city of Mashhad of street prostitutes. Pic chronicles a killing spree in the streets of Mashhad, where 16 prostitutes were found dead from 2000 to 2001.  A local journalist, Rahimi (Zar Amir-Ebrahimi), is trying to crack the case as she grows frustrated by the police’s apathy toward finding the murderer.

EXCLUSIVE: Utopia has finalized its North American deal for Cannes Competition pic Holy Spider, the noir thriller from Danish-Iranian filmmaker Ali Abbasi. We told you the deal was all but there a couple of days ago.

A drastic departure from his prior films “Border” and “Shelley,” Ali Abbasi’s newest film, “Holy Spider,” draws inspiration from the 2000-2001 crimes and subsequent trial of Saeed Hanaei (played here by Mehdi Bajestani), a war veteran-turned-serial killer in the Iranian city of Mashhad who murdered 16 sex workers, claiming that he was cleansing the holy city of sinners and corruption in the name of Islam.

South Korea may have made big inroads on American TV recently with “Squid Game” and “Pachinko,” and the country’s intriguing film and television industry also has a stronger-than-usual presence at this year’s Cannes Film Festival. “Squid Game” star Lee Jung-jae’s political thriller “Hunt” premiered as a midnight screening early in the festival; Davy Chou’s “Return to Seoul” landed a pre-Cannes deal with Sony Pictures Classics and is one of the hits of the Un Certain Regard sidebar; and Japanese director Hirokazu Kore-eda is in the main competition with “Broker,” his first film shot in South Korea in the Korean language.

Forbes). “I know we are human beings and that we are very complicated, and the power of art is that it knows no color. Because human beings, when they sit and watch art they want to feel less alone.

Patrick Frater Asia Bureau ChiefIranian-Danish director Ali Abbasi insists that his Cannes competition film “Holy Spider” is not intended to be a controversial truth telling. Rather, he is telling the truth through a fictional interpretation of real events. The film chronicles a killing spree in the streets of the religious city of Mashhad, where 16 prostitutes were found dead between 2000 and 2001.“I am not a big fan of serial killers or serial killer movies,” Abbasi said May 23 at the Cannes Film Festival.

“We didn’t do the movie to highlight women’s conditions in Iran, we didn’t do the movie to do activist work,” exclaimed Swedish-Iranian filmmaker Ali Abbasi about his latest in competition Cannes Film Festival title, Holy Spider at the pic’s press conference this morning.

unleashed smoke bombs and unrolled a list of murdered women just before the world premiere of Ali Abbasi’s serial-killer drama “Holy Spider.” And if the demonstration’s cause was only too just, its context was all too uncommon, since these protesters were seemingly there to support, not oppose, Abbasi’s violent and disturbing film. To follow up his Un Certain Regard-winning “Border,” the Iran-born Denmark-based director has burrowed into a chilling bit of true-crime from his native country, reimagining the 2001 case of a religious fanatic who slaughtered 16 young women and using that premise to explore systemic misogyny writ large. He does so by turning the murder thriller upside down, telling a story where the killer’s identify is never in doubt and his intentions are always crystal clear, and where the greatest source of tension comes from wondering whether anyone in power will lift a finger to stop him. The killer in this case is middle-aged construction worker Saeed (Mehdi Bajestani).

EXCLUSIVE: Holy Spider, the Ali Abbasi-directed Iranian serial killer thriller, is nearing a deal for U.S. rights with Utopia, the U.S. sales and distribution firm owned by Robert Schwartzman and Cole Harper. The provocative Cannes Competition film premiered today on the Croisette to strong applause.

Ramin Setoodeh Executive Editor“Holy Spider,” a gritty drama about a real-life Iranian serial killer, stunned the Cannes Film Festival at its premiere on Sunday afternoon, earning a thunderous seven-minute standing ovation and bringing a jolt of electricity to what’s been a sleepy festival so far.The film, from Iranian-Danish director Ali Abbasi (“Border”), chronicles a killing spree in the streets of the religious city of Mashhad, where 16 prostitutes were found dead from 2000 to 2001.  A local journalist, Rahimi (Zar Amir-Ebrahimi), is trying to crack the case as she grows frustrated by the police’s apathy toward finding the murderer. But in one of many twists in this drama, the identity of the serial killer is revealed early on — he’s a war veteran named Saeed (Mehdi Bajestani), a seemingly normal family man who spends his nights picking up women on his motorcycle and brutally strangling them in his home as a religious cleansing ritual.