Abbas Kiarostami was considered by many to be one of the greatest living filmmakers in the world before his untimely death in 2016. Admired by Akira Kurosawa and Jean-Luc Godard from the very beginning, he was later admired by Martin Scorsese, Michael Hanke, Werner Herzog and many others. However, despite all the numerous awards and fame he has won among filmmakers, Kiarostami has never been known beyond the chest space. His work was too unique, too experimental, too restless, and so different from the mainstream that it could not reach a wider audience.
Of course, we should not assume that his films were difficult. Incidentally, most of them deal with recognizable "normal" characters, usually played by non-professionals in "normal" and recognizable situations. Their storyline is simple and easy to follow. However, before you can get an idea of what Kiarostami had to do, it's helpful to review two or three points.
The problem with some is the speed and tone of his films. If you are accustomed to cutting Wambaum and the characterization and popular stories of Hollywood and other populist cinemas, Kiarostami's calmer, more surprising, and thoughtful approach to storytelling may be a little difficult, and it may take some time to get used to. Even for Western art lovers, Iranian films may seem a little alien at first.
The reason is that Kiarostami (who was not only a filmmaker but also a poet and photographer) really did things. You looked different than most of us. He looked at things more patiently and from a different perspective, asking different questions about the world and himself. Besides, he was not into cinema: he had no interest in film as an industrial phenomenon produced for entertainment, and he had never made a film that could be categorized according to ordinary genres. What led him to make the films he made was not other films, but life itself; These and countless ideas that were constantly circulating in his deeply curious and very creative mind.
What is the feature of Kiarostami's film? Well, most of them are about people just trying to get a better understanding of how the world works and find their place in it (hence, it may come as no surprise that many of his first films are about children and focus on them)
Those movies often - but not always - involve a search or a trip; Whether it is a geographical, emotional, moral journey or a spiritual journey. His films also tend to leave certain details vague or unexplained. Kiarostami wanted cinemagoers to engage with his work in their imagination, so he left his narratives incomplete in various ways. What has been omitted or not shown can be as obvious as what is seen and seen in the film. img src="https://bingmag.com/picsbody/2204/19011-2.jpg" alt="BingMag.com A way to start watching Abbas Kiarostami's cinema; The quiet poet of cinema" loading="lazy">
Since Kiarostami's films organically relate to and grow from their previous films, in an ideal world it is probably best to: Watch them in the same order as when they were made. Certainly his first film, Bread and Alley (1970), was a short story about a little boy and a grunting dog, and his first film, The Traveler (1974), was about a child who tries to reach a football match. What he does can be a good entry point for Kiarostami to watch. Watch. The triangle is sometimes referred to as the "Cocker Triangle".
The first is, "Where is the friend's house?" (1987) deals with a boy's unique but unsuccessful attempt to help a classmate who is having trouble with homework. The non-sentimental yet profound observation with this work is like a witty, slightly stylized piece of neorealism. And his son, who travels to the village where the first film was shot, changes his mind to find out if the two boys in "Where is a Friend's House?" Have appeared or not survived. A devastating earthquake also drastically changes the angles of the film.
Finally, in "Under the Olive Trees" (1994), the frame changes again, so that we find another filmmaker who has a scene from the film. It takes the second, in which the real emotions and the emotions demanded by the script of the second film are mixed in a humorous but heartbreaking way. Again, the overall picture of life in Cocker's villages is getting bigger, more beautiful, and richer, so that we can now look at it from multiple perspectives.
The experience of watching these three films in the order in which they were made is exciting. But if you have enough time to watch them all If not, you might choose Close-up (1990), which takes a similar approach and presents a few scenes in the bizarre case of a young man who goes to court for replacing Mohsen Makhmalbaf. The families allege that he intended to defraud them by calling himself Makhmalbaf and promising to make a film about them. It combines and replaces live events and on-camera interviews to examine the story from a wide range of perspectives, but the results are very clear. We clearly understand that the accused is in fact a very worthy human being. He is the victim of society and, moreover, of cinema itself as a lying machine.
You get used to it, it's better to go step by step and watch his next films.
The last of his films that can be a good experience to watch is "Ten". This film is an extremely compassionate and courageous look at the situation of Iranian women, which includes 10 conversations that took place during a car trip between a divorced young woman and her various passengers. This movie may sound boring, but it is not. A car that is both a private and a public space where people are willing to express their opinions, it presents 10 uncompromising, almost documented, and ultimately incredibly moving reports of gender and generational politics in contemporary Tehran.
Where not to start!
You probably should not end your journey in Kiarostami's works with "Five" start (2003) or "Sweet" (2008). Even the more expensive recent films are not a good choice. Of course, all of these films are amazing works, but to fully understand what Kiarostami has done in them, it is much better to look at three or four of his older films first.
Kiarostami is also in his early documentaries, such as "Hamshahri" (1983) or "Homework" (1989), with a precise and slightly difficult use of the element of repetition, creates a relatively challenging viewing.
Fall, everything will be fine. He was undoubtedly one of the greats of modern cinema. But if in doubt, try some of his early short films; "Two solutions to a problem" (1975) and "in order or in order" (1981). These two films show well that Kiarostami's cinema was very different from ordinary cinema from the very beginning and before it became known in the West.
Source: BFI <// p>