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.
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 »
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,
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 »
Five sequences : 1) A piece of driftwood on the seashore, carried about by the waves 2) People walking on the seashore. The oldest ones stop by, look at the sea, then go away 3) Blurry ... 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 <firstname.lastname@example.org>
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.
7 of 7 people found this review helpful.
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