Down 64,025 this week

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

Your rating:
    1 2 3 4 5 6 7 8 9 10 -/10 X  
Ratings: 7.9/10 from 1,825 users  
Reviews: 11 user | 12 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 »


0Check in

Editors' Spotlight

Fall TV Premiere Week

Many of your favorite shows are coming back, along with plenty of series premieres. Here's a list of the shows premiering between Sunday, September 21 and Friday, September 26.

User Lists

Related lists from IMDb users

a list of 46 titles
created 09 May 2011
a list of 27 titles
created 05 Aug 2011
a list of 45 titles
created 06 Mar 2012
list image
a list of 46 titles
created 12 Jan 2013
a list of 41 titles
created 02 Aug 2013

Related Items

Connect with IMDb

Share this Rating

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

Life, and Nothing More... (1992) on IMDb 7.9/10

Want to share IMDb's rating on your own site? Use the HTML below.

Take The Quiz!

Test your knowledge of Life, and Nothing More....

User Polls

1 win & 1 nomination. See more awards »


Learn more

People who liked this also liked... 

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

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.

Director: Mohsen Makhmalbaf
Stars: Mirhadi Tayebi, Mohsen Makhmalbaf, Ali Bakhsi
ABC Africa (2001)
    1 2 3 4 5 6 7 8 9 10 7/10 X  

Documentary account of the AIDS crisis in Uganda.

Director: Abbas Kiarostami
Stars: Abbas Kiarostami, Seyfolah Samadian
    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
The Cyclist (1987)
    1 2 3 4 5 6 7 8 9 10 7.4/10 X  

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 »

Director: Mohsen Makhmalbaf
Stars: Mahshid Afsharzadeh, Firouz Kiani, Samira Makhmalbaf
Crimson Gold (2003)
Drama | Thriller
    1 2 3 4 5 6 7 8 9 10 7.6/10 X  

An Iranian pizza delivery man sees the worst of corruption and social unbalance in his city and is driven to crime.

Director: Jafar Panahi
Stars: Hossain Emadeddin, Kamyar Sheisi, Azita Rayeji
The Runner (1984)
    1 2 3 4 5 6 7 8 9 10 8/10 X  

Amiro is a young boy who has lost his home during the war. He spends his days by working odd jobs, until he realizes that the only way that he can realize his dreams is by enrolling in ... See full summary »

Director: Amir Naderi
Stars: Abbas Nazeri, Majid Niroumand, Musa Torkizadeh
    1 2 3 4 5 6 7 8 9 10 7.2/10 X  

In Tuscany to promote his latest book, a middle-aged British writer meets a French woman who leads him to the village of Lucignano. While there, a chance question reveals something deeper.

Director: Abbas Kiarostami
Stars: Juliette Binoche, William Shimell, Jean-Claude Carrière
The Mirror (1997)
    1 2 3 4 5 6 7 8 9 10 7.6/10 X  

A girl in traditional female clothing, and her arm in plaster, comes out of school one day and doesn't find her mother meeting her. She decides to travel home her self though she doesn't ... See full summary »

Director: Jafar Panahi
Stars: Mina Mohammad Khani, Aida Mohammadkhani, Kazem Mojdehi
    1 2 3 4 5 6 7 8 9 10 6.5/10 X  
Director: Abbas Kiarostami
Drama | Short
    1 2 3 4 5 6 7 8 9 10 7.1/10 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
10 on Ten (2004)
    1 2 3 4 5 6 7 8 9 10 6.9/10 X  
Director: Abbas Kiarostami
Safar (1996)
    1 2 3 4 5 6 7 8 9 10 6.6/10 X  

An exploration of the psychological effects of war on a middle-class Iranian family who flee Teheran following a night air raid.

Director: Alireza Raisian
Stars: Dariush Farhang, Farokhlagha Hushmand, Fatemah Motamed-Aria


Cast overview, first billed only:
Farhad Kheradmand ...
Film Director
Buba Bayour ...
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


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 <>

Plot Summary | Add Synopsis

Plot Keywords:

earthquake | iran | disaster | sequel


Adventure | Drama


See all certifications »




Release Date:

21 October 1992 (France)  »

Also Known As:

Life, and Nothing More...  »

Filming Locations:


Company Credits

Show detailed on  »

Technical Specs


Sound Mix:


Aspect Ratio:

1.66 : 1
See  »

Did You Know?


Follows Where is the Friend's Home? (1987) See more »

Frequently Asked Questions

This FAQ is empty. Add the first question.

User Reviews

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

19 of 21 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: