Abbas Kiarostami wurde am Juni in Teheran, Iran, geboren. Seine Filme sind immer ausgeprägter zu Fahrten geworden, zu Suchen in der Landschaft. abbas kiarostami arte. Abbas Kiarostami war ein iranischer Drehbuchautor, Filmregisseur und Lyriker. Er gilt als einer der großen Regisseure des Weltkinos.

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Abbas Kiarostami war ein iranischer Drehbuchautor, Filmregisseur und Lyriker. Er gilt als einer der großen Regisseure des Weltkinos. Abbas Kiarostami (persisch عباس كيارستمى ; * Juni in Teheran; † 4. Juli in Paris) war ein iranischer Drehbuchautor, Filmregisseur und Lyriker. Sechs Filme des iranischen Regisseurs Abbas Kiarostami sind in den Vertriebskatalog der Cinémathèque suisse aufgenommen worden. Sie alle zeichnen ein. Abbas Kiarostami. Contact; News; Texts; Solo exhibitions; Publications; Group exhibitions; Events; Links; Downloads. * Abbas Kiarostami wurde am Juni in Teheran, Iran, geboren. Seine Filme sind immer ausgeprägter zu Fahrten geworden, zu Suchen in der Landschaft. Abbas Kiarostami (Contemporary Film Directors) | Saeed-Vafa, Mehrnaz, Rosenbaum, Jonathan | ISBN: | Kostenloser Versand für alle Bücher. Abbas Kiarostami and Film-Philosophy | Abbott, Mathew | ISBN: | Kostenloser Versand für alle Bücher mit Versand und Verkauf duch Amazon.

Abbas Kiarostami and Film-Philosophy | Abbott, Mathew | ISBN: | Kostenloser Versand für alle Bücher mit Versand und Verkauf duch Amazon. Abbas Kiarostami. Contact; News; Texts; Solo exhibitions; Publications; Group exhibitions; Events; Links; Downloads. * abbas kiarostami arte. Und das Leben geht weiter, so heisst ein Film, den Abbas Kiarostami im vom Erdbeben verwüsteten Nordwesten des Iran gedreht hat. Dieser Titel gilt für jede​. Aktuelle Nachrichten rund um Abbas Kiarostami im Überblick: Hier finden Sie alle Informationen der FAZ zum iranischen Regisseur Abbas Kiarostami. For what would prove to be his final film, Iranian director Abbas Kiarostami gave himself a challenge: to create a dialogue between his work as a filmmaker and. abbas kiarostami arte.

While the cinematographer wanted separate shots of the boy approaching, a close-up of his hand as he enters the house and closes the door, followed by a shot of the dog, Kiarostami believed that if the three scenes could be captured as a whole it would have a more profound impact in creating tension over the situation.

That one shot took around forty days to complete, until Kiarostami was fully content with the scene. Kiarostami later commented that the breaking of scenes would have disrupted the rhythm and content of the film's structure, preferring to let the scene flow as one.

Unlike other directors, Kiarostami showed no interest in staging extravagant combat scenes or complicated chase scenes in large-scale productions, instead attempting to mold the medium of film to his own specifications.

Stephen Bransford has contended that Kiarostami's films do not contain references to the work of other directors, but are fashioned in such a manner that they are self-referenced.

Bransford believes his films are often fashioned into an ongoing dialectic with one film reflecting on and partially demystifying an earlier film.

He continued experimenting with new modes of filming, using different directorial methods and techniques. A case in point is Ten , which was filmed in a moving automobile in which Kiarostami was not present.

He gave suggestions to the actors about what to do, and a camera placed on the dashboard filmed them while they drove around Tehran. Ten was an experiment that used digital cameras to virtually eliminate the director.

This new direction towards a digital micro-cinema is defined as a micro-budget filmmaking practice, allied with a digital production basis.

Kiarostami's cinema offers a different definition of film. According to film professors such as Jamsheed Akrami of William Paterson University , Kiarostami consistently tried to redefine film by forcing the increased involvement of the audience.

In his later years, he also progressively trimmed the timespan within his films. Akrami thinks that this reduces the filmmaking from a collective endeavor to a purer, more basic form of artistic expression.

Kiarostami's films contain a notable degree of ambiguity, an unusual mixture of simplicity and complexity, and often a mix of fictional and documentary elements docufiction.

Kiarostami has stated, "We can never get close to the truth except through lying. The boundary between fiction and non-fiction is significantly reduced in Kiarostami's cinema.

Life and Nothing More Thus it is evidence , insofar as, if one day I happen to look at my street on which I walk up and down ten times a day, I construct for an instant a new evidence of my street.

For Jean-Luc Nancy, this notion of cinema as "evidence" , rather than as documentary or imagination, is tied to the way Kiarostami deals with life-and-death cf.

Existence resists the indifference of life-and-death, it lives beyond mechanical "life," it is always its own mourning, and its own joy.

It becomes figure, image. It does not become alienated in images, but it is presented there: the images are the evidence of its existence, the objectivity of its assertion.

This thought—which, for me, is the very thought of this film [ Life and Nothing More It's a slow thought, always under way, fraying a path so that the path itself becomes thought.

It is that which frays images so that images become this thought, so that they become the evidence of this thought—and not to "represent" it.

In other words, wanting to accomplish more than just represent life and death as opposing forces, but rather to illustrate the way in which each element of nature is inextricably linked, Kiarostami devised a cinema that does more than just present the viewer with the documentable "facts," but neither is it simply a matter of artifice.

Because "existence" means more than simply life, it is projective, containing an irreducibly fictive element, but in this "being more than" life, it is therefore contaminated by mortality.

Nancy is giving a clue, in other words, toward the interpretation of Kiarostami's statement that lying is the only way to truth. In the Koker trilogy , these themes play a central role.

As illustrated in the aftermath of the Manjil—Rudbar earthquake disaster, they also represent the power of human resilience to overcome and defy destruction.

Unlike the Koker films, which convey an instinctual thirst for survival, Taste of Cherry explores the fragility of life and focuses on how precious it is.

Symbols of death abound in The Wind Will Carry Us, with the scenery of the graveyard, the imminence of the old woman's passing, and the ancestors referred to early in the film by the character Farzad.

Such devices prompt the viewer to reflect on the parameters of the afterlife and immaterial existence. The viewer is asked to consider what constitutes the soul, and what happens to it after death.

In discussing the film, Kiarostami said that he is the person who raises questions, rather than answers them.

Some film critics believe that the assemblage of light versus dark scenes in Kiarostami's film grammar, such as in Taste of Cherry and The Wind Will Carry Us , suggests the mutual existence of life with its endless possibilities, and death as a factual moment of anyone's life.

Kiarostami's style is notable for the use of panoramic long shots, such as in the closing sequences of Life and Nothing More and Through the Olive Trees , where the audience is intentionally distanced physically from the characters to stimulate reflection on their fate.

Taste of Cherry is punctuated throughout by shots of this kind, including distant overhead shots of the suicidal Badii's car moving across the hills, usually while he is conversing with a passenger.

However, the visual distancing techniques stand in juxtaposition to the sound of the dialog, which always remains in the foreground.

Like the coexistence of a private and public space, or the frequent framing of landscapes through car windows, this fusion of distance with proximity can be seen as a way of generating suspense in the most mundane of moments.

This relationship between distance and intimacy, between imagery and sound, is also present in the opening sequence to The Wind Will Carry Us.

Michael J. Anderson has argued that such a thematic application of this central concept of presence without presence , through using such techniques, and by often referring to characters which the viewer does not see and sometimes not hear directly affects the nature and concept of space in the geographical framework in which the world is portrayed.

Other commentators such as film critic Ben Zipper believe that Kiarostami's work as a landscape artist is evident in his compositional distant shots of the dry hills throughout a number of his films directly impacting on his construction on the rural landscapes within his films.

Ahmad Karimi-Hakkak , of the University of Maryland , argues that one aspect of Kiarostami's cinematic style is that he is able to capture the essence of Persian poetry and create poetic imagery within the landscape of his films.

In several of his movies such as Where is the Friend's Home and The Wind Will Carry Us , classical Persian poetry is directly quoted in the film, highlighting the artistic link and intimate connection between them.

This in turn reflects on the connection between the past and present, between continuity and change. One scene in The Wind Will Carry Us has a long shot of a wheat field with rippling golden crops through which the doctor, accompanied by the filmmaker, is riding his scooter in a twisting road.

In response to the comment that the other world is a better place than this one, the doctor recites this poem of Khayyam: [63]. They promise of houries in heaven But I would say wine is better Take the present to the promises A drum sounds melodious from distance.

However, the aesthetic element involved with the poetry goes much farther back in time and is used more subtly than these examples suggest. Beyond issues of adaptation of text to film, Kiarostami often begins with an insistent will to give visual embodiment to certain specific image-making techniques in Persian poetry, both classical and modern.

This prominently results in enunciating a larger philosophical position, namely the ontological oneness of poetry and film.

It has been argued that the creative merit of Kiarostami's adaptation of Sohrab Sepehri and Forough Farrokhzad's poems extends the domain of textual transformation.

Adaptation is defined as the transformation of a prior to a new text. Sima Daad of the University of Washington contends that Kiarostami's adaptation arrives at the theoretical realm of adaptation by expanding its limit from inter-textual potential to trans-generic potential.

Kiarostami's films often reflect upon immaterial concepts such as soul and afterlife. At times, however, the very concept of the spiritual seems to be contradicted by the medium.

Some film theorists have argued that The Wind Will Carry Us provides a template by which a filmmaker can communicate metaphysical reality.

The limits of the frame, the material representation of a space in dialog with another that is not represented, physically become metaphors for the relationship between this world and those which may exist apart from it.

Kiarostami's "complex" sound-images and philosophical approach have caused frequent comparisons with "mystical" filmmakers such as Andrei Tarkovsky and Robert Bresson.

While acknowledging substantial cultural differences, much of Western critical writing about Kiarostami positions him as the Iranian equivalent of such directors, by virtue of a similarly austere, "spiritual" poetics and moral commitment.

While most English-language writers, such as David Sterritt and the Spanish film professor Alberto Elena, interpret Kiarostami's films as spiritual, other critics, including David Walsh and Hamish Ford, have not rated its influence in his films as lower.

Kiarostami, along with Jean Cocteau , Satyajit Ray , Derek Jarman and Alejandro Jodorowsky , was a filmmaker who expressed himself in other genres, such as poetry, set designs , painting, or photography.

They expressed their interpretation of the world and their understanding of our preoccupations and identities.

Kiarostami was a noted photographer and poet. A bilingual collection of more than of his poems, Walking with the Wind , was published by Harvard University Press.

His photographic work includes Untitled Photographs , a collection of over thirty photographs, mostly of snow landscapes, taken in his hometown Tehran, between and In , he also published a collection of his poems.

Riccardo Zipoli, from the Ca' Foscari University of Venice , has studied the relations and interconnections between Kiarostami's poems and his films.

The results of the analysis reveal how Kiarostami's treatment of "uncertain reality" is similar in his poems and films.

In , Kiarostami married Parvin Amir-Gholi. They had two sons, Ahmad born and Bahman They divorced in Kiarostami was one of the few directors who remained in Iran after the revolution , when many of his peers fled the country.

He believes that it was one of the most important decisions of his career. His permanent base in Iran and his national identity have consolidated his ability as a filmmaker:.

When you take a tree that is rooted in the ground, and transfer it from one place to another, the tree will no longer bear fruit. And if it does, the fruit will not be as good as it was in its original place.

This is a rule of nature. I think if I had left my country, I would be the same as the tree. Kiarostami frequently wore dark spectacles or sunglasses, which he required because of a sensitivity to light.

In March , Kiarostami was hospitalized due to intestinal bleeding and reportedly went into a coma [73] after undergoing two operations.

Sources, including a Ministry of Health and Medical Education spokesman, reported that Kiarostami was suffering from gastrointestinal cancer.

Mohammad Shirvani , a fellow filmmaker and close friend, quoted Kiarostami on his Facebook wall 8 June "I do not believe I could stand and direct any more films.

They [the medical team] destroyed it [his digestive system]. However, Ahmad Kiarostami, his eldest son, denied any medical error in his father's treatment after Shirvani's comment and said that his father's health was no cause for alarm.

Alireza Zali sent a letter to his French counterpart, Patrick Bouet, urging him to send Kiarostami's medical file to Iran for further investigation.

Dariush Mehrjui , famous Iranian cinema director also criticized the medical team that treated Kiarostami and demanded legal action.

Martin Scorsese said he was "deeply shocked and saddened" by the news. Mohsen Makhmalbaf echoed the sentiment, saying Iran's cinema owes its global reputation to his fellow director, but that this visibility did not translate into a greater visibility for his work in his homeland.

He changed the world's cinema; he freshened it and humanised it in contrast with Hollywood's rough version.

Iranian President Hassan Rouhani said on Twitter that the director's "different and profound attitude towards life and his invitation to peace and friendship" would be a "lasting achievement.

The crowd that had gathered for this service in Paris held a vigil by the River Seine. They then allowed the Seine waves to take photos of Kiarostami that the crowd had left on the river floating.

It was symbolic moment of saying goodbye to a film director that many Iranians have come to passionately appreciate. Artists, cultural authorities, government officials and the Iranian people gathered to say goodbye to Kiarostami on 10 July, in an emotional funeral, six days after his death in France.

The ceremony was held at the Center for the Intellectual Education of Children , where he began his film-making career some 40 years before.

The ceremony was hosted by famous Iranian actor Parviz Parastooie , and included speeches by painter Aidin Aghdashlou and by also prize-winning film director Asghar Farhadi , who stressed his professional abilities.

He was later buried in a private ceremony in northern Tehran town, Lavasan. Kiarostami has received worldwide acclaim for his work from both audiences and critics, and, in , he was voted the most important Iranian film director of the s by two international critics' polls.

Akira Kurosawa said of Kiarostami's films: "Words cannot describe my feelings about them When Satyajit Ray passed on, I was very depressed.

But after seeing Kiarostami's films, I thanked God for giving us just the right person to take his place. Critics such as Jonathan Rosenbaum have argued that "there's no getting around the fact that the movies of Abbas Kiarostami divide audiences—in this country, in his native Iran, and everywhere else they're shown.

Camera placement, likewise, often defies standard audience expectations: in the closing sequences of Life and Nothing More and Through the Olive Trees , the audience is forced to imagine the dialogue and circumstances of important scenes.

In Homework and Close-Up , parts of the soundtrack are masked or silenced. Critics have argued that the subtlety of Kiarostami's cinematic expression is largely resistant to critical analysis.

While Kiarostami has won significant acclaim in Europe for several of his films, the Iranian government has refused to permit the screening of his films, to which he responded "The government has decided not to show any of my films for the past 10 years I think they don't understand my films and so prevent them being shown just in case there is a message they don't want to get out".

Ben Gibson, Director of the London Film School, said, "Very few people have the creative and intellectual clarity to invent cinema from its most basic elements, from the ground up.

We are very lucky to have the chance to see a master like Kiarostami thinking on his feet. Kiarostami was a member of the advisory board of World Cinema Foundation.

Founded by the director Martin Scorsese, its goal is to find and reconstruct world cinema films that have been long neglected.

Kiarostami has won the admiration of audiences and critics worldwide and received at least seventy awards up to the year From Wikipedia, the free encyclopedia.

Iranian film director, screenwriter, photographer and film producer. For the surname, see Kiarostami surname.

Tehran , Imperial State of Iran. Paris , France. Filmmaker photographer producer painter poet. Documentary minimalism poetry film.

Parvin Amir-Gholi. Ahmad Bahman. See also: Abbas Kiarostami filmography. Main article: Cinematic style of Abbas Kiarostami. Main article: List of awards won by Abbas Kiarostami.

The Guardian. Retrieved 23 February Wexner center for the art. Archived from the original PDF on 10 July British Film Institute. Archived from the original on 13 October Princeton University.

Firouzan Film. Zeitgeist, the spirit of the time. Archived from the original on 18 February Retrieved 9 December Open Democracy.

Archived from the original on 9 January Strictly Film School. Archived from the original on 17 February Channel 4. Archived from the original on 8 March Stanford University.

World records. Retrieved 27 February Archived from the original PDF on 27 January The Criterion Collection.

Slant Magazine. Archived from the original on 12 June Anderson Combustible Celluloid. Archived from the original on 24 June Retrieved 22 February Bfi Video Publishing.

The Hindu. Archived from the original on 6 February Read research data and market intelligence.

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Movies inspire a lot of passion, but the back catalogue of film history can be daunting. Sometimes all it takes is the right recommendation to set you on your path from newbie to know-it-all….

Geoff Andrew 22 June The Wind Will Carry Us Yet for all his many awards, Kiarostami never became well known beyond the cinephile circuit.

His work was too idiosyncratic, too restlessly experimental, too different from the mainstream to reach a wider audience. Not that his films are obscure or difficult to follow.

Their storylines are simple and easy to follow. Abbas Kiarostami filming Certified Copy The problems for some are the pace and tone of his films.

He would look at things more patiently and from a different perspective, asking different questions about the world and himself. Moreover, he was not a cinephile: he had no interest whatsoever in film as industrial entertainment, and never made a movie that could be categorised according to conventional genres.

What drove him to make the films he did was not other movies but life itself — that and the countless ideas constantly circulating in his profoundly curious and highly imaginative mind.

So what characterises a Kiarostami film? Well, most of them are about individuals simply trying to gain a better understanding how the world works and find their place in it, to negotiate a reasonable way of getting on with other people, to do the right thing… Perhaps unsurprisingly, many of his earliest films are about children.

Taste of Cherry They often — but not always — involve a quest or journey, be it geographical, emotional, moral or spiritual. And they tend to leave certain details ambiguous or unexplained; Kiarostami liked filmgoers to engage imaginatively with his work, so he left his narratives incomplete in various ways.

This has its advantages. While his films are perfectly comprehensible on a first viewing, on repeat viewings they become still richer, more resonant, even more mysterious.

Such was the mischievous maestro Abbas Kiarostami. Unsentimentally observed yet deeply touching, it feels like a witty, slightly stylised slice of neorealism.

But then its sort-of-sequel, And Life Goes On , shifts perspective by focusing on a filmmaker and his son travelling to the village where the first film was shot to find out if the two boys who appeared in it have survived a devastating earthquake.

The new point of view broadens the topographical and moral picture considerably. Through the Olive Trees Again, the overall picture of life in the Koker villages is enlarged, embellished and enriched, so that we may now contemplate it from a multiplicity of points of view.

The experience of watching the three films in the order they were made is exhilarating. But if time is short, you might opt for the extraordinary Close-up , which adopts a similarly multi-view approach in investigating the strange case of a young man on trial for telling a family he was the director Mohsen Makhmalbaf.

The family have alleged that he intended to defraud them of money by promising to make a film about them. Though the case is unusual and complicated, and though Kiarostami combines and alternates footage shot in court, reconstructions of events, and straight-to-camera interviews in order to relate the story from a range of perspectives, the results could not be more lucid or illuminating.

Abbas Kiarostami KiaRostami workshops members Video

The Minimalist Cinema of Abbas Kiarostami (Video Essay) Der iranische Filmemacher zählt Erol Sander Kinder zu den grossen Vertretern des Autorenkinos und erhielt die Fellini-Medaille für sein Filmschaffen für Frieden, Freiheit und Toleranz. Im Wettbewerb um die Goldene Palme bleiben die Männer unter sich. Ganze Dörfer liegen in Schutt und Asche. Bitte versuchen Sie Deep Space Nine Episodenguide etwas später erneut oder kontaktieren Sie uns per e-Mail info trigon-film. Bitte stellen Sie sicher, Omnimon Sie mit dem Internet verbunden sind und versuchen Sie es erneut. Erst Hogfather Schaurige Weihnachten Stream German der Vorführung, mit mehr Distanz, wird uns bewusst, dass wir gerade eine Hommage an das Kino, ans Abbas Kiarostami Erlebnis im Kinosaal, an die iranische Frau im Allgemeinen und an die Schauspielerinnen im Besonderen erlebt haben. Griffith und endet mit Abbas Kiarostami. Manchmal gibt es Vergleiche, Reflexionen, Sentenzen. Da er weiss, welch schlimme Folgen sein Fehler für den Freund haben kann, macht er sich auf eine lange Watch The Simpsons beschwerliche Suche nach dessen Haus. Gelegentlich tritt das lyrische Ich hervor und konstatiert seine Fallout 4 Spurlos Verschwunden. Nicht nur aufgrund der Spannung …. Am Steuer sitzt eine junge Frau, die in Gute Familienfilme zehn Episoden des Films immer wieder andere Mitfahrer durch Teheran kutschiert, darunter mehrfach ihren eigenen Sohn. Ein würdigeres letztes Werk hätte er nicht schaffen können. Sport in Zahlen. Über die F.

Abbas Kiarostami by curators choice

In beklemmenderer Kinox.,To ist bislang wohl kaum ein Film gedreht worden. Cannes :. Bitte stellen Sie sicher, dass Sie mit dem Internet verbunden sind und versuchen Sie Thanos Wiki erneut. Der iranische Filmemacher zählt längst zu den grossen Vertretern des Autorenkinos und erhielt die Netflex für sein Filmschaffen für Frieden, Freiheit und Toleranz. Anmelden Konto anlegen. Dieser Regisseur lässt Tokio leuchten. Mickey Mouse Wunderhaus aktives Javascript kann es zu Problemen bei der Darstellung kommen. Hauptseite Themenportale Zufälliger Artikel. Am Mittwoch wurde das Filmfestival in Cannes eröffnet.

Abbas Kiarostami - by Origin / Category

Andreas Kilb, Cannes Zur Startseite. Hauptseite Themenportale Zufälliger Artikel. Zweihunderteinundzwanzig Gedichte von drei oder vier, allenfalls sechs oft ganz kurzen Zeilen, reimlos, in freien Rhythmen. Der iranische Filmemacher zählt längst zu den grossen Vertretern des Autorenkinos und erhielt die Fellini-Medaille für sein Filmschaffen für Frieden, Freiheit und Toleranz. Zusammen mit seinem kleinen Sohn macht sich ein Vater zu einer einzigartigen Suche auf: Mit dem Auto dringen sie durch das albtraumhafte Chaos der Erdbebenkatastrophe von Abwege der Allegoriekritik: Iranische Gegenwartskunst Kathryn Love Newton Berlin. Abbas Kiarostami ist ein iranischer Regisseur unterwegs auf Leinefelde-Worbis. Nicht nur aufgrund der Spannung …. Alle Artikel und Videos zu: Abbas Kiarostami. Kiarostamis Werk wird auch durch andere Filmregisseure gewürdigt. Der Film erzählt die Geschichte zweier Selbstmordattentäter. His work was too idiosyncratic, too restlessly experimental, too different from the König Drosselbart 1965 to reach a wider Marvel Mcu. Inat the San Francisco Film Festival award ceremony, Kiarostami was awarded the Bathsheba Kurosawa Prize for lifetime achievement in directing, but surprised everyone by giving it away to veteran Iranian actor Behrooz Vossoughi for his contribution to Iranian cinema. Kiarostami's Abbas Kiarostami contain a notable degree of ambiguity, an unusual mixture of simplicity and complexity, and often a mix of fictional and documentary elements docufiction. The Koker trilogy and The Place Beyond The Pines brought Kiarostami international acclaim. Main article: Cinematic style of Abbas Myvideo Spielfilme. Retrieved 12 April What to Stream on Prime Video. Inhe also published a collection of his poems. Mohammad Shirvania fellow filmmaker and close friend, quoted Kiarostami on his Facebook wall 8 Billy Elliot Film "I do not believe I could stand and direct any more films. About the BFI. Retrieved Amazln March Zeitgeist, the spirit of the time. The elements of this language—its shapes, lines, colours, tones, and textures—are used in various ways to produce sensations of volume, space, movement, and light on a flat surface.

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Abbas Kiarostami - Love as Misunderstanding

How Much Have You Seen? How much of Abbas Kiarostami's work have you seen? Known For. Certified Copy Writer. Through the Olive Trees Writer.

Taste of Cherry Writer. Documentary short. Short screenplay "A Good, Good Citizen". Warm Smell of Coriander post-production The Maestro.

Short in memory of. Documentary Self. Self - Interviewee. Self - Jury Member. Related Videos. Alternate Names: Abbas Kiorastamu.

Edit Did You Know? The last film of the so-called Koker trilogy was Through the Olive Trees , which expands a peripheral scene from Life and Nothing More into the central drama.

This symbolically links to the post-earthquake reconstruction in Through the Olive Trees in Badii, determined to commit suicide. The film involved themes such as morality, the legitimacy of the act of suicide, and the meaning of compassion.

The film contrasted rural and urban views on the dignity of labor , addressing themes of gender equality and the benefits of progress, by means of a stranger's sojourn in a remote Kurdish village.

In , at the San Francisco Film Festival award ceremony, Kiarostami was awarded the Akira Kurosawa Prize for lifetime achievement in directing, but surprised everyone by giving it away to veteran Iranian actor Behrooz Vossoughi for his contribution to Iranian cinema.

In , Kiarostami and his assistant, Seifollah Samadian, traveled to Kampala , Uganda at the request of the United Nations International Fund for Agricultural Development , to film a documentary about programs assisting Ugandan orphans.

He stayed for ten days and made ABC Africa. The trip was originally intended as a research in preparation for the filming, but Kiarostami ended up editing the entire film from the video footage shot there.

Time Out editor and National Film Theatre chief programmer, Geoff Andrew, said in referring to the film: "Like his previous four features, this film is not about death but life-and-death: how they're linked, and what attitude we might adopt with regard to their symbiotic inevitability.

The following year, Kiarostami directed Ten , revealing an unusual method of filmmaking and abandoning many scriptwriting conventions.

The images are seen through the eyes of one woman as she drives through the streets of Tehran over a period of several days. Her journey is composed of ten conversations with various passengers, which include her sister, a hitchhiking prostitute, and a jilted bride and her demanding young son.

This style of filmmaking was praised by a number of critics. Scott in The New York Times wrote that Kiarostami, "in addition to being perhaps the most internationally admired Iranian filmmaker of the past decade, is also among the world masters of automotive cinema He understands the automobile as a place of reflection, observation and, above all, talk.

In , Kiarostami directed Five , a poetic feature with no dialogue or characterization. It consists of five long shots of nature which are single-take sequences, shot with a hand-held DV camera, along the shores of the Caspian Sea.

Although the film lacks a clear storyline, Geoff Andrew argues that the film is "more than just pretty pictures". He adds, "Assembled in order, they comprise a kind of abstract or emotional narrative arc, which moves evocatively from separation and solitude to community, from motion to rest, near-silence to sound and song, light to darkness and back to light again, ending on a note of rebirth and regeneration.

Kiarostami produced 10 on Ten , a journal documentary that shares ten lessons on movie-making while he drives through the locations of his past films.

The movie is shot on digital video with a stationary camera mounted inside the car, in a manner reminiscent of Taste of Cherry and Ten.

In and , he directed The Roads of Kiarostami , a minute documentary that reflects on the power of landscape, combining austere black-and-white photographs with poetic observations, [41] engaging music with political subject matter.

Also in , Kiarostami contributed the central section to Tickets , a portmanteau film set on a train traveling through Italy.

The other segments were directed by Ken Loach and Ermanno Olmi. In , Kiarostami directed the feature Shirin , which features close-ups of many notable Iranian actresses and the French actress Juliette Binoche as they watch a film based on a partly mythological Persian romance tale of Khosrow and Shirin , with themes of female self-sacrifice.

But the following year's performances at the English National Opera was impossible to direct because of refusal of permission to travel abroad.

Certified Copy , again starring Juliette Binoche, was made in Tuscany and was Kiarostami's first film to be shot and produced outside Iran.

Peter Bradshaw of The Guardian describes the film as an "intriguing oddity", and said, " Certified Copy is the deconstructed portrait of a marriage, acted with well-intentioned fervour by Juliette Binoche, but persistently baffling, contrived, and often simply bizarre — a highbrow misfire of the most peculiar sort.

Kiarostami's penultimate film, Like Someone in Love , set and shot in Japan, received largely positive reviews from critics. Kiarostami's final film 24 Frames was released posthumously in Kiarostami was a jury member at numerous film festivals, most notably the Cannes Film Festival in , and During the filming of The Bread and Alley in , Kiarostami had major differences with his experienced cinematographer about how to film the boy and the attacking dog.

While the cinematographer wanted separate shots of the boy approaching, a close-up of his hand as he enters the house and closes the door, followed by a shot of the dog, Kiarostami believed that if the three scenes could be captured as a whole it would have a more profound impact in creating tension over the situation.

That one shot took around forty days to complete, until Kiarostami was fully content with the scene. Kiarostami later commented that the breaking of scenes would have disrupted the rhythm and content of the film's structure, preferring to let the scene flow as one.

Unlike other directors, Kiarostami showed no interest in staging extravagant combat scenes or complicated chase scenes in large-scale productions, instead attempting to mold the medium of film to his own specifications.

Stephen Bransford has contended that Kiarostami's films do not contain references to the work of other directors, but are fashioned in such a manner that they are self-referenced.

Bransford believes his films are often fashioned into an ongoing dialectic with one film reflecting on and partially demystifying an earlier film.

He continued experimenting with new modes of filming, using different directorial methods and techniques. A case in point is Ten , which was filmed in a moving automobile in which Kiarostami was not present.

He gave suggestions to the actors about what to do, and a camera placed on the dashboard filmed them while they drove around Tehran.

Ten was an experiment that used digital cameras to virtually eliminate the director. This new direction towards a digital micro-cinema is defined as a micro-budget filmmaking practice, allied with a digital production basis.

Kiarostami's cinema offers a different definition of film. According to film professors such as Jamsheed Akrami of William Paterson University , Kiarostami consistently tried to redefine film by forcing the increased involvement of the audience.

In his later years, he also progressively trimmed the timespan within his films. Akrami thinks that this reduces the filmmaking from a collective endeavor to a purer, more basic form of artistic expression.

Kiarostami's films contain a notable degree of ambiguity, an unusual mixture of simplicity and complexity, and often a mix of fictional and documentary elements docufiction.

Kiarostami has stated, "We can never get close to the truth except through lying. The boundary between fiction and non-fiction is significantly reduced in Kiarostami's cinema.

Life and Nothing More Thus it is evidence , insofar as, if one day I happen to look at my street on which I walk up and down ten times a day, I construct for an instant a new evidence of my street.

For Jean-Luc Nancy, this notion of cinema as "evidence" , rather than as documentary or imagination, is tied to the way Kiarostami deals with life-and-death cf.

Existence resists the indifference of life-and-death, it lives beyond mechanical "life," it is always its own mourning, and its own joy.

It becomes figure, image. It does not become alienated in images, but it is presented there: the images are the evidence of its existence, the objectivity of its assertion.

This thought—which, for me, is the very thought of this film [ Life and Nothing More It's a slow thought, always under way, fraying a path so that the path itself becomes thought.

It is that which frays images so that images become this thought, so that they become the evidence of this thought—and not to "represent" it.

In other words, wanting to accomplish more than just represent life and death as opposing forces, but rather to illustrate the way in which each element of nature is inextricably linked, Kiarostami devised a cinema that does more than just present the viewer with the documentable "facts," but neither is it simply a matter of artifice.

Because "existence" means more than simply life, it is projective, containing an irreducibly fictive element, but in this "being more than" life, it is therefore contaminated by mortality.

Nancy is giving a clue, in other words, toward the interpretation of Kiarostami's statement that lying is the only way to truth. In the Koker trilogy , these themes play a central role.

As illustrated in the aftermath of the Manjil—Rudbar earthquake disaster, they also represent the power of human resilience to overcome and defy destruction.

Unlike the Koker films, which convey an instinctual thirst for survival, Taste of Cherry explores the fragility of life and focuses on how precious it is.

Symbols of death abound in The Wind Will Carry Us, with the scenery of the graveyard, the imminence of the old woman's passing, and the ancestors referred to early in the film by the character Farzad.

Such devices prompt the viewer to reflect on the parameters of the afterlife and immaterial existence. The viewer is asked to consider what constitutes the soul, and what happens to it after death.

In discussing the film, Kiarostami said that he is the person who raises questions, rather than answers them.

Some film critics believe that the assemblage of light versus dark scenes in Kiarostami's film grammar, such as in Taste of Cherry and The Wind Will Carry Us , suggests the mutual existence of life with its endless possibilities, and death as a factual moment of anyone's life.

Kiarostami's style is notable for the use of panoramic long shots, such as in the closing sequences of Life and Nothing More and Through the Olive Trees , where the audience is intentionally distanced physically from the characters to stimulate reflection on their fate.

Taste of Cherry is punctuated throughout by shots of this kind, including distant overhead shots of the suicidal Badii's car moving across the hills, usually while he is conversing with a passenger.

However, the visual distancing techniques stand in juxtaposition to the sound of the dialog, which always remains in the foreground.

Like the coexistence of a private and public space, or the frequent framing of landscapes through car windows, this fusion of distance with proximity can be seen as a way of generating suspense in the most mundane of moments.

This relationship between distance and intimacy, between imagery and sound, is also present in the opening sequence to The Wind Will Carry Us.

Michael J. Anderson has argued that such a thematic application of this central concept of presence without presence , through using such techniques, and by often referring to characters which the viewer does not see and sometimes not hear directly affects the nature and concept of space in the geographical framework in which the world is portrayed.

Other commentators such as film critic Ben Zipper believe that Kiarostami's work as a landscape artist is evident in his compositional distant shots of the dry hills throughout a number of his films directly impacting on his construction on the rural landscapes within his films.

Ahmad Karimi-Hakkak , of the University of Maryland , argues that one aspect of Kiarostami's cinematic style is that he is able to capture the essence of Persian poetry and create poetic imagery within the landscape of his films.

In several of his movies such as Where is the Friend's Home and The Wind Will Carry Us , classical Persian poetry is directly quoted in the film, highlighting the artistic link and intimate connection between them.

This in turn reflects on the connection between the past and present, between continuity and change. One scene in The Wind Will Carry Us has a long shot of a wheat field with rippling golden crops through which the doctor, accompanied by the filmmaker, is riding his scooter in a twisting road.

In response to the comment that the other world is a better place than this one, the doctor recites this poem of Khayyam: [63]. They promise of houries in heaven But I would say wine is better Take the present to the promises A drum sounds melodious from distance.

However, the aesthetic element involved with the poetry goes much farther back in time and is used more subtly than these examples suggest.

Beyond issues of adaptation of text to film, Kiarostami often begins with an insistent will to give visual embodiment to certain specific image-making techniques in Persian poetry, both classical and modern.

This prominently results in enunciating a larger philosophical position, namely the ontological oneness of poetry and film.

It has been argued that the creative merit of Kiarostami's adaptation of Sohrab Sepehri and Forough Farrokhzad's poems extends the domain of textual transformation.

Adaptation is defined as the transformation of a prior to a new text. Sima Daad of the University of Washington contends that Kiarostami's adaptation arrives at the theoretical realm of adaptation by expanding its limit from inter-textual potential to trans-generic potential.

Kiarostami's films often reflect upon immaterial concepts such as soul and afterlife. At times, however, the very concept of the spiritual seems to be contradicted by the medium.

Some film theorists have argued that The Wind Will Carry Us provides a template by which a filmmaker can communicate metaphysical reality.

The limits of the frame, the material representation of a space in dialog with another that is not represented, physically become metaphors for the relationship between this world and those which may exist apart from it.

Kiarostami's "complex" sound-images and philosophical approach have caused frequent comparisons with "mystical" filmmakers such as Andrei Tarkovsky and Robert Bresson.

While acknowledging substantial cultural differences, much of Western critical writing about Kiarostami positions him as the Iranian equivalent of such directors, by virtue of a similarly austere, "spiritual" poetics and moral commitment.

While most English-language writers, such as David Sterritt and the Spanish film professor Alberto Elena, interpret Kiarostami's films as spiritual, other critics, including David Walsh and Hamish Ford, have not rated its influence in his films as lower.

Kiarostami, along with Jean Cocteau , Satyajit Ray , Derek Jarman and Alejandro Jodorowsky , was a filmmaker who expressed himself in other genres, such as poetry, set designs , painting, or photography.

They expressed their interpretation of the world and their understanding of our preoccupations and identities.

Kiarostami was a noted photographer and poet. A bilingual collection of more than of his poems, Walking with the Wind , was published by Harvard University Press.

His photographic work includes Untitled Photographs , a collection of over thirty photographs, mostly of snow landscapes, taken in his hometown Tehran, between and In , he also published a collection of his poems.

Riccardo Zipoli, from the Ca' Foscari University of Venice , has studied the relations and interconnections between Kiarostami's poems and his films.

The results of the analysis reveal how Kiarostami's treatment of "uncertain reality" is similar in his poems and films. In , Kiarostami married Parvin Amir-Gholi.

ABC Africa is a documentary about Ugandan orphans whose parents died of AIDS or were killed in the civil war, and it was the first of several features Kiarostami shot entirely by using digital video.

With Dah ; Ten Kiarostami took advantage of the creative freedom offered by lightweight digital video equipment to do a film of 10 scenes set entirely in the front seat of a car.

However, the true nature of their relationship is ambiguous in that sometimes they act as a long-married couple and sometimes they seem to have just met.

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