After the earthquake of Guilan, the film director and his son, Puya, travel to the devastated area to search for the actors of the movie the director made there a few years ago, Khane-ye ... See full summary »
A semi-autobiographical account of Makmahlbaf's experience as a teenager when, as a 17-year-old, he stabbed a policeman at a protest rally. Two decades later, he tracks down the policeman he injured in an attempt to make amends.
A train travels across Italy toward Rome. On board is a professor who daydreams a conversation with a love that never was, a family of Albanian refugees who switch trains and steal a ticket... See full summary »
The wife of Nasim, an Afghan immigrant in Iran, is gravely ill. He needs money to pay for her care, but his day labor digging wells does not pay enough. A friend connects Nasim to a two-bit... See full summary »
The movie focuses on one of the events in Zendegi Edame Darad (1992), and explores the relationship between the movie director, and the actors. The local actors play a couple who got ... See full summary »
Mohamad Ali Keshavarz,
An elderly couple go about their routine of cleaning their gabbeh (a intricately-designed rug), while bickering gently with each other. Magically, a young woman appears, helping the two ... See full summary »
After the earthquake of Guilan, the film director and his son, Puya, travel to the devastated area to search for the actors of the movie the director made there a few years ago, Khane-ye Doust Kodjast? (1987). In their search, they found how people who had lost everything in the earthquake still have hope and try to live life to the fullest. Written by
Sam Tabibia <email@example.com>
In Abbas Kiraostami's acclaimed pseudo documentary, an unnamed director (Ferhad Khermanend, playing an alter ego of Kiarostami) and his young son to return to Koker, the setting of his great film "Where is the Friends Home", in the wake of the devastating 1990 earthquake that hit northern Iran. The movie is ostensibly about the search for the two boys who starred in the earlier film but it turns into a kind of fictional documentary about the strength of the human spirit in the face of disaster. the camera simply watching out the car window for much of the film, taking in the landscape, the ruins of mud houses, and the streams of homeless people hauling food and equipment to makeshift shelters. The villagers are fatalistic, believing that the earthquake was God's will, but the rebirth of the human spirit is symbolized by the fact that most people seem interested in watching the Italia 90 World Cup matches, despite their terrible tragedy they have gone through (many have lost their homes and family members). In a director with less sensibility, a movie like this would seem the shameless exploitation of a tragedy. The movie is not quite entertaining but it is compelling. The filming of this movie would itself be fictionalized by Kiarostami in Through the Olive Trees.
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