8.0/10
2,408
11 user 14 critic

Life, and Nothing More... (1992)

Zendegi va digar hich (original title)
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 »

Director:

Reviews
1 win & 1 nomination. See more awards »
Learn more

People who liked this also liked... 

Drama
    1 2 3 4 5 6 7 8 9 10 7.8/10 X  

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 »

Director: Abbas Kiarostami
Stars: Mohamad Ali Keshavarz, Farhad Kheradmand, Zarifeh Shiva
Drama
    1 2 3 4 5 6 7 8 9 10 7.6/10 X  

Irreverent city engineer Behzad comes to a rural village in Iran to keep vigil for a dying relative. In the meanwhile the film follows his efforts to fit in with the local community and how he changes his own attitudes as a result.

Director: Abbas Kiarostami
Stars: Behzad Dorani, Noghre Asadi, Roushan Karam Elmi
Close-Up (1990)
Biography | Crime | Drama
    1 2 3 4 5 6 7 8 9 10 8.3/10 X  

Pretending to be Mohsen Makhmalbaf making his next movie, Hossain Sabzian enters the home of a well-to-do family in Tehran, promising it a prominent part in his next movie. The actual ... See full summary »

Director: Abbas Kiarostami
Stars: Mohsen Makhmalbaf, Hossain Sabzian, Abolfazl Ahankhah
Ten (2002)
Drama
    1 2 3 4 5 6 7 8 9 10 7.5/10 X  

Ten sequences examine the emotional lives of women at significant junctures.

Director: Abbas Kiarostami
Stars: Mania Akbari, Amin Maher, Kamran Adl
Homework (1989)
Documentary
    1 2 3 4 5 6 7 8 9 10 8/10 X  

In this documentary, Kiarostami asks a number of students about their school homework. The answers of some children shows the darker side of this method of education.

Director: Abbas Kiarostami
Stars: Babak Ahmadpoor, Farhang Akhavan, Mohammad Reza Nematzadeh
Drama
    1 2 3 4 5 6 7 8 9 10 7.7/10 X  

An Iranian man drives his truck in search of someone who will quietly bury him under a cherry tree after he commits suicide.

Director: Abbas Kiarostami
Stars: Homayoun Ershadi, Abdolrahman Bagheri, Afshin Khorshid Bakhtiari
Shirin (2008)
Drama
    1 2 3 4 5 6 7 8 9 10 6.8/10 X  

A hundred and fourteen famous Iranian theater and cinema actresses and a French star: mute spectators at a theatrical representation of Khosrow and Shirin, a Persian poem from the twelfth ... See full summary »

Director: Abbas Kiarostami
Stars: Mahnaz Afshar, Pegah Ahangarani, Taraneh Alidoosti
The Traveler (1974)
Drama
    1 2 3 4 5 6 7 8 9 10 7.6/10 X  

A grade-school-age boy, neglected by his parents, lies, cheats, and steals to accumulate enough money to afford a bus ride to a large city and a ticket to see his favorite soccer team play.

Director: Abbas Kiarostami
Stars: Hassan Darabi, Masud Zandbegleh, Mostafa Tari
Drama
    1 2 3 4 5 6 7 8 9 10 7.1/10 X  

The daily hard life of a kid working in a photo shop, and tries to get closer to the girl he like.

Director: Abbas Kiarostami
Stars: Hossein Yarmohammadi, Andre Govalovish, Parviz Naderi
The Report (1977)
Drama
    1 2 3 4 5 6 7 8 9 10 7.2/10 X  

The movie revolves around the life of a tax collector who is accused of taking bribes, and also has to deal with problems at home, including the suicide attempt of his wife.

Director: Abbas Kiarostami
Stars: Shohreh Aghdashloo, Kurosh Afsharpanah, Mehdi Montazar
Drama | Short
    1 2 3 4 5 6 7 8 9 10 7.2/10 X  

A child carrying a bread is going home but in the alley on his way to home, there is a frightening dog and he doesn't seem to pass it alone.

Director: Abbas Kiarostami
Drama
    1 2 3 4 5 6 7 8 9 10 7/10 X  

A woman orders a suit from a tailor for her young son to wear to her sister's wedding. The tailor's apprentice, together with two other teenage boys who work in the same building, devise a ... See full summary »

Director: Abbas Kiarostami
Stars: Mohammad Fassih, Mehdi Nekoueï, Massoud Zand
Edit

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:

See all certifications »
Edit

Details

Country:

Language:

Release Date:

21 October 1992 (France)  »

Also Known As:

Life, and Nothing More...  »

Filming Locations:

 »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

Color:

Aspect Ratio:

1.66 : 1
See  »
Edit

Did You Know?

Connections

Featured in Through the Olive Trees (1994) See more »

Frequently Asked Questions

This FAQ is empty. Add the first question.

User Reviews

 
9/10
11 November 2004 | by (Canada) – See all my reviews

This is the transition from Kiarostami's films about children into his more adult, philosophically ponderous phase (and his bridging of the gap between characters searching on foot, as in the first of the trilogy, "Where is the Friend's Home," and within cars). As with all of Kiarostami's films, it's just beautiful to look at, not so much the way he films it (although this film continues his favorite shot of action taking place extremely far away), but what is filmed. For this reason I almost feel like I'm blinded by the director's name on the film, giving his films such high marks, because he doesn't really DO anything that you can point to. There is no startling mise-en-scene (the nature exists anyway, regardless of his camera). But he repeatedly and consistently creates a tranquil, pure, loving feeling in me. It has to do with his soul: he's putting it up there every time. Not autobiographically, but tonally. It has nothing to do with words like "craft" or "quality."

The simple gesture of a child wanting to raise a grasshopper is enough for Kiarostami to be considered a great realist, an observer. And his film is a connector of people. It might sound simple to say, but for a Westerner with no real idea of what life is like in Iran -- or better, not life, but people -- the simple depiction of it that shows, "Hey, they're basically like us," is invaluable. That's the difference between artists who share what is and artists who create what isn't. And more immediately, within the film, he deals with the public tragedy as great connector, whether it's an earthquake or an act of terrorism. And for us Westerners whose first real impression of that came with 9/11, this film will ring true -- and be remarkable if we consider that things like this happen over there all the time. (Which possibly explains why our main character never seems all that shocked by anything he sees; when a woman cries for her family, he nods his head, but doesn't seem terribly affected by her tears.) One character here asks what Iran has done to anger God and cause the earthquake, but there is little religiosity in the film. Unlike certain recent American films, this film does not have a tendency toward hand-wringing and overwrought seriousness reaching toward the skies. That scene itself is understated like the entire film. The characters here are not spiritual ciphers. They're utterly practical.

As with Kiarostami's two greatest films, "Close-Up" and "Taste of Cherry," the film becomes brilliant when it breaks from its placid realism into self-reference: the main character pulls out a picture of a boy who acted in the real film "Where is the Friend's Home?" and asks strangers where this real boy is, who he says played a role in the film. Is this a real earthquake? Is this actor really harmed? Is this a documentary? Is the main actor playing Kiarostami; is Kiarostami filming this from the passenger seat? Are they really out looking for this boy? But as with those two masterpieces, it's this that borders on insufferable, smirking cleverness on Kiarostami's part that makes me question the so-called honesty of his films. (I find his interviews pretentious and evasive.) Is it possible to be a self-referencing deconstructionist and reveal human truths, not just reveal "the nature of cinema," in an attempt to be the Iranian Godard? This is what lessens my enjoyment of his films, because it lowers my trust. Kiarostami asks a lot of us. "Okay, admit the first film was openly a film, but accept this as a closed film, until I tell you it's a documentary..." There are other flaws. It does get "cute" at times, as when the main character repeats his son's question at a later time ("Why is it coming out of a tap?"). And the boy seems preternaturally wise -- part of the film's "message" is not to discount kids' wisdom: the boy questions the validity of the claim that God caused the earthquake, shocking one woman that he and his father come in contact with throughout their travels.

However, there is so much richness elsewhere (and I'm willing to accept that the layering of the self-reference adds to the film, even if it makes it momentarily annoying) that you can move beyond its flaws (which, honestly, I would accept pretty easily in another film; with Kiarostami you have expectations in the clouds). I'm particularly interested in the way children (and the child experience as remembered or experienced by an adult) are presented on screen, and I'm continually ecstatic that we have Kiarostami contributing to this. (That the main character's son describes one boy from "Where is the Friend's Home?" by his eyes is appropriate, as when we see him they are indeed strikingly beautiful.) The film is also an interesting comment on what happens to people after they work -- Falconetti comes to mind. And the ending is already a classic: it's like the swimming pool scene in "Nostalghia" in tone. Does what happen happen because the film has to end that way, or because of the human spirit? (This is one of the few scenes where music plays under it.)

Even though the movie has no end, only a means, it moves forward like a good documentary. Even though time is not indicated (there are few, if any lapses; time is experienced, as in Tarkovsky), it moves along at a nice pace -- not so much in that the story is brisk, more in that we've settled into its own rhythm. There is no "story," only the story of film as experience. Lots of Big statements could be inferred from the film -- it's about an endless journey with no resolution to a place they don't know how to get to (college students, get your pens out) -- but I take it directly. 9/10


21 of 23 people found this review helpful.  Was this review helpful to you?

Message Boards

Recent Posts
The encouter with the boys carrying a stove vivard
Music in the film omegabane
Discuss Life, and Nothing More... (1992) on the IMDb message boards »

Contribute to This Page

Create a character page for:
?