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.
Roushan Karam Elmi
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,
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 »
When an ostrich-rancher focuses on replacing his daughter's hearing aid, which breaks right before crucial exams, everything changes for a struggling rural family in Iran. Karim motorbikes ... See full summary »
Mohammad Amir Naji,
Middle-aged Mr.Badii is planning to commit suicide and desperately seeks anyone to assist him - he has already dug out the grave in the mountains, but the assistant will have to bury him when he will do the deed. He asks Kurd soldier, Afghan seminarian, but everyone refuses by some reason. Finally he finds an old Turkish taxidermist, who has a sick son and previously attempted suicide himself, and he agrees to assist Badii. Written by
The film's coda was to a certain extent unplanned, according to an interview with Kiarostami. After they had filmed preliminary versions of the final scene, they did the final scene proper, but the lab accidentally destroyed these final reels. Kiarostami then decided that the off-focus and colors of the test reels worked, and used those instead. See more »
In the opening scene, as Mr. Badhi is driving past laborers looking for work, the same middle-aged white haired man, wearing a checkered sweater vest, is seen twice. See more »
I don't want to give you a gun to kill me. I'm giving you a spade, a spade.
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This is film at its simplest: pure cinema. And then he pulls out the rug from underneath you. The director removes the event from the film, in doing so calls attention not to what the protagonist's action will be, but rather the reason for the action. Nor does he make the reason specific, though the concerns are human, universal, which transcends the specific. Foremost this film is about cinema, cinema and the what it means to be, to exist.
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