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 »
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
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 »
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 train travels across Italy toward Rome. On board is a professor who daydreams a conversation with a love that never was, a family of Albanian refugees who switch trains and steal a ticket... 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 ... See full summary »
A little girl with beautiful hair. She loves movies and wants to become an actress. She is being told about the plot of a movie that she is going to play: "a friend is jealous about her ... See full summary »
In the late 1990s Abbas Kiarostami was driving late at night while on a visit to Tokyo and witnessed a young girl on the side of the street dressed as a bride. In the years following, while visiting Tokyo to promote other films, he realized that he was always looking for that same girl because she had left such an impression but that he would never likely notice her again in real life because she wouldn't be wearing the same dress. This experience became the basis for the film. See more »
What do they teach them in there? As if dusty, old, foreign books will open their eyes.
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Following "Copie conforme" (2011), Kiarostami continues to travel the world, and this time he finds his film from the relationship between a student who also works as an escort and a widower in Tokyo.
I think the essentials of his cinema should be clear by now, no matter which film has been the door to his art: life and reality as a form of fiction, art as life, love as art, death as the long journey from the anteroom of life, as in "Bad ma ra khadad bord" ('The Wind Will Carry Us', 1999), beyond the rolling credits. Yet his films are not pessimistic or cold, but rather celebrate life in the smallest moments, and this humanity transforms all the narrative opulence into life-affirming art.
Kiarostami's gift is that he's able to make us unsure of our footing, of where or who we are, or who the characters we see are, and where they're going. He does it with such slyness it's as natural as breathing. We see not much happening, but somehow we have that ever- intensifying feeling that behind the curtain something grand is slowly taking shape, the pieces of the universe are falling into place and soon the cosmos will reveal itself unto us. In modern literature it's Murakami Haruki who's closest to this kind of fantastical realism that Kiarostami not only employs as a kind of means, but breathes and gives a name to; not a mirror but a window, not the cloud but the sky.
Indeed, the film is very much like the rest of Kiarostami that I have seen: the surface is calm, lingering, leisurely, yet beneath the surface there's another world entire, fierce and full of dark brooding. It's them, it's us. Loneliness, hunger. Warmth, comedy. The wheel turns. To some extent this film pairs well not only with the apparent sibling "Copie conforme" but with "Amour" (2012), too. Both have at their core a relationship amid death and old age, an awakening, and the urge for human connection; both films are masterful poems of the cinematic flow of images and rhythm. I'd also search for "Bin-jip" (2004), which shares the broken heart, bruised by domestic violence, and the hopeful heart that sees the door, ajar ever as imperceptibly, and the rush of blood to the head as one realizes all the possibilities.
And then, as always, there's the "although" and the "but," and all that comes with it.
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