Community Languages Collection

Abbas Kiarostami is the most influential and controversial post-revolutionary Iranian filmmaker and one of the most highly celebrated directors in the international film community of the last decade.  During the period of the ‘80s and the ‘90s, at a time when the true image of Iranians was missing from the world stage , his cinema introduced a humane and artistic face. The Community Language collection at the library hold most of his works , which are DVDs in Farsi with English subtitle. Check it out…

You might also find this comments on his films by Mehnaz Saeed-Vafa useful:

form as a zigzag pattern is emphasised through shot composition or camera movement. For example, the recurrent image of zigzagging roads in his films has become a philosophical and metaphysical statement as well as revealing the general situation of his characters. The zigzag path in Where is the Friend’s House? (1987) shows the many turns that the child has to take in order to find his friend. Similarly, the man who is driving on the hilly roads in Taste of Cherry is looking for someone to bury him. In Life and Nothing More…, the filmmaker has to find two children who acted in his previous film, following a deadly earthquake that shook northern Iran. Even sometimes the zigzagging movements of an object like an apple in The Wind Will Carry Us or the empty spray can in Close-Up show the randomness of fate. They are practically Kiarostami’s signatory shots.

Kiarostami’s later films, especially the three films that are known as a trilogy, Where is the Friend’s House?, Through the Olive Trees, and Life and Nothing More…, have a strong emphasis on landscape and architecture, revealing Kiarostami’s philosophical point-of-view. The beautiful view of trees revealed through the ruins of the village in Where is the Friend’s House?, the long shot of the cracked road in Life and Nothing More…, and the long shot of the wheat field in The Wind Will Carry Us, remind the audience of the beauty that the main character ignores. As Kiarostami gradually moves toward nature and rural characters and settings, the landscape shots become more instrumental in the structure of his post-revolutionary films.

 

Although Kiarostami uses small crews and mainly non-actors and no script, his recent documentary feature A.B.C. Africa signals the emergence of a new approach. It is his first film that is shot outside Iran and on digital video. The film is predominately shot in English, saturated in colour, and has wall-to-wall music. Unlike most of his previous films, A.B.C. Africa is populated with strong women characters – a sharp contrast to his previous films, where the absence of women was noticeable. One can view this as another movement in his cinema that has started mainly with The Wind Will Carry Us and is continued in his most recent film, Ten (2002), films which feature mainly women characters.

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