8 items from 2017
Abbas Kiarostami, the great Iranian postmodernist who died last summer at the age of 76, used to say that he preferred the kind of movies that put their audience to sleep. “Some films have made me doze off in the theater,” he would explain, “but the same films have made me stay up at night, wake up thinking about them in the morning, and keep on thinking about them for for weeks.” So while I passed out (and passed out hard) roughly 15 minutes into “24 Frames,” the fascinating, posthumously completed non-narrative project that will serve as Kiarostami’s final farewell, I suspect that he wouldn’t take my unconsciousness as a criticism or a show of disrespect.
On the contrary, I imagine that he would have been delighted to see the dozens of nodding heads that dotted the film’s final Cannes screening, where the narcotic quality of Kiarostami’s cinema was »
- David Ehrlich
Movingly presented in a special screening at the largest cinema in Cannes, Abbas Kiarostami’s final feature 24 Frames may be the most experimental film ever shown at the festival. Inspired by his desire to know what happens before and after what's depicted in an image, Kiarostami and a team of supremely talented animators and sound artists have rendered in motion 23 of the Iranian director’s photographs and one Bruegel painting, each brought to life for four and a half minutes.Throughout his career, Kiarostami, who died at the age of 76 last July, asked playful questions about where the line between cinema and life, construction and reality lay, and in later films like Ten (2002), Five Dedicated to Ozu (2003), Shirin (2008), and Like Someone in Love (2012), he has more directly confronted the audience with these innate ambiguities. The constant return suggests the permeable line—the levels of play and fictionalizing—of what cinema »
Not every filmmaker gets to make their feature-film debut at Cannes. But when you’ve studied with Abbas Kiarostami, and Jane Campion once said your voice had “a very unique flavor,” your chances are pretty good. Such is the case for Iranian writer/director Anahita Ghazvinizadeh and her stunning debut feature, “They,” an impressionistic character study about a gender non-conforming kid named J (Rhys Fehrenbacher).
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Though Ghazvinizadeh’s voice is wholly her own, Kiarostami’s influence is all over “They.” And if you’re going to borrow from someone, one of the most singular filmmakers of the last 50 years isn’t a bad place to start. The Iranian auteur redefined the medium, eschewing flashy action sequences for quietly complex stories that often left viewers feeling baffled. In his last film to play Cannes, »
- Jude Dry
The Iranian director has produced a posthumous marvel with this bizarre, experimental ghost-film that even puts his hated cinema seats to decent use
Abbas Kiarostami last came to Cannes competition in 2012 with Like Someone in Love, a head-scratching tease of a film, bowing out with a crash ending that left the audience hanging. At the time, the Iranian director was unrepentant; he said that cinema seats made an audience lazy and that question marks were “part of the punctuation of life”. Now, nearly a year after his death at the age of 76, Kiarostami is back – after a fashion – with a mesmerising sign-off. Belatedly, it seems, he has provided Cannes with an ending.
24 Frames was conceived as Kiarostami’s response to the paintings and photographs that inspired him, prompted by the desire to hold the frame steady so as to watch each image come to life, each drama play on. Except »
- Xan Brooks
French mini-major MK2 Films has acquired all rights to late Iranian film master Abbas Kiarostami’s first 20 movies.
Under the agreement – signed with the Institute Kanoon (Institut iranien pour le Développement Intellectuel des Enfants et des Adolescents), MK2 will restore the 20 films of Kiarostami in 4K. Among the acquired titles are “Where is My Friend’s Home,””And Life Goes On” and “The Traveler,” Kiarostami’s first feature film.
“And Life Goes On” complete the trilogy including “Where is My Friend’s House?” and “Through the Olive Trees,” both of which are already acquired by MK2.
Some of the acquired titles include films that mostly unknown, as well as 14 short- and medium-length films, notably his very first film, “The Bread and Alley,” which came out in 1970.
MK2 now owns nearly all of Kiarostami’s films. The French company already detained rights to Kiarostami’s more recent films, notably “Like Someone in Love, »
- Elsa Keslassy
Agnès Varda may not see as well as she used to, but her creative vision has never been clearer. If the magnificently moving, funny, life-affirming, and altogether wonderful “Faces Places” (or, in its original language, the much smoother “Visages Villages”) is to be the 88-year-old Belgian auteur’s last film, it will be because of her failing eyesight or the inexplicable difficulty she’s had with funding her work, and not because she’s run out of things to say or novel ways to say them.
If this is to be her last film, then it will be one of cinema’s most extraordinary sendoffs, as poignant and perfect a swan song as Hayao Miyazaki’s “The Wind Rises” or Abbas Kiarostami’s “Like Someone in Love.” Never mind the fact that Miyazaki is supposedly working on another feature, or that Cannes is posthumously presenting Kiarostami’s final non-narrative work »
- David Ehrlich
23 January 2017 10:53 AM, PST | The Hollywood Reporter - Movie News | See recent The Hollywood Reporter - Movie News news »
The late Iranian writer-director, who passed away in July, was known for such films as Taste of Cherry, The Wind Will Carry Us and his Koker trilogy, among others. Kiarostami was a pioneer of the Iranian New Wave and also was an accomplished photographer and painter. His last film was 2012’s Like Someone in Love, a romantic drama set in Japan, which was nominated for a Palme d’Or at Cannes.
His son, Ahmad Kiarostami, will accept the guild’s honorary award on his »
- Mia Galuppo
The filmmaker, who died last July, will be honored at the Writers Guild Awards ceremony on Feb. 19. His son, Ahmad Kiarostami, will accept the award on his father’s behalf.
“Abbas Kiarostami was, as Martin Scorsese put it, ‘one of those rare artists with a special knowledge of the world,'” said WGA West President Howard A. Rodman. “As a founding father of the New Iranian Cinema, Kiarostami navigated tricky political and cultural terrains with courage and grace. Yet the impact of his work – and his life – is felt far outside the borders of his native land. Kiarostami’s films were fiction, were documentary, were transcendent. He expanded cinematic narrative for all of us, »
- Dave McNary
8 items from 2017
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