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Life, and Nothing More... (1992)
"Zendegi va digar hich" (original title)

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Ratings: 8.0/10 from 1,946 users  
Reviews: 11 user | 13 critic

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 »

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Title: Life, and Nothing More... (1992)

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Cast

Cast overview, first billed only:
Farhad Kheradmand ...
Film Director
Buba Bayour ...
Puya
Hocine Rifahi
Ferhendeh Feydi
Mahrem Feydi
Bahrovz Aydini
Ziya Babai
Mohamed Hocinerouhi
Hocine Khadem
Maassouma Berouana
Mohammad Reza Parvaneh
Chahrbanov Chefahi
Youssef Branki
Chahine Ayzen
Mohamed Bezdani
Edit

Storyline

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 <samtab@uclink.berkeley.edu>

Plot Summary | Add Synopsis

Plot Keywords:

earthquake | iran | disaster | sequel | See All (4) »

Genres:

Adventure | Drama

Certificate:

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Details

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Release Date:

21 October 1992 (France)  »

Also Known As:

Life, and Nothing More...  »

Filming Locations:

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Aspect Ratio:

1.66 : 1
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Connections

Followed by Through the Olive Trees (1994) See more »

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User Reviews

Fantastic, today's Neo-realism
3 February 2005 | by See all my reviews

Whilst watching this film i was struck by how natural and simplistic the film was. A film director and his son travel through Iran after an earthquake has struck to try and see if the boy who starred in his last film is still alive. That is what the film is, observing people on the road, whose lives have been destroyed, people whose lives still go on. Kiarostami presents life in such a naturalistic way that we are sitting in the back seat of the car taking the journey as well. That is the perfection of the this film, the real life, the carnage of life, the people striving for life, all add up to one up-lifting experience. Like Rossellini with a uplifting finale, and minus the melodrama. Kiarostami seeks to capture reality on film in a similar way as the Neo-realists, through humanity and observation, but while the Neo-realists films can be seen as natural, Kiarostami reinvents naturalism as if nature had shot the film itself. Yet another piece of perfection from Kiarostami, not to be missed.


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