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life and nothing more kiarostami

group travels home, he points out that the home that he lives in isn’t his And Life Goes On is step…. The book celebrates and chronicles over one…. Mas uma coisa eu posso dizer sem revê-lo no momento: nos anos 1990 viu-se uma leva de filmes e de realizadores que constituíram algo como uma alta modernidade tardia, inesperada, espontânea dentro da pós-modernidade (pós-modernidade que, vale notar, foi criticada por muitos, e até mesmo hostilizada por alguns nomes dessa leva). As in Friend’s Home, Kiarostami relies on the innocence of children to make some valid points about life: while it first appears that Film Director, an adult, is in control here, we gradually realize that Puya does all the “driving.” It’s Puya who is more willing to accept the natural disaster as a random event, “like a mad dog that attacks whoever is nearest while people who are further away escape.” He tells a mother mourning her lost daughter that at least now she won’t have to worry about her homework. Friend’s Home is treated as a fiction within the world of Life, while a scene from Life is seen being filmed in Olive Trees. time of tragedy is disarming in its simplicity. When Film Director finds another child actor from Friend’s Home and comments on his physical size, the boy responds with “We all grow, right?” These characters look forward to the future, they don’t dwell on the past. This quasi-version of himself is returning to the village of Koker during the aftermath of a heart-rending earthquake, searching for the children who appeared in his previous film WHERE IS MY FRIEND'S HOUSE? That they still do their laundry and kind of art is it that makes a man look older and uglier? Synopsis. perspective in the film. But the establishing of the three films as a trilogy, while an obvious move, distracts from how each of Kiarostami's films are either a variation of the last or a synthesis of some sort - Where Is The Friend's Home is a fiction work set around a school day, Homework is a documentary on the education system. The inaccessible doors of Abbas Kiarostami [In Media Res - April 24th - 28th] - Duration: 3:39. The ‘Koker Trilogy’ tag stuck, but Kiarostami has never endorsed it; he once stated that a more suitable grouping would include Life, Olive Trees, and 1998’s Taste of Cherry, three films thematically linked through their explorations of life versus death. there, and there’s a sense of urgency because there is little news about the After changing his route several times, the two finally reach one of the villages in which the aforementioned movie was filmed. "Whole towns have gone downhill" in the Manjil-Rudbar earthquake, Koker is one of them, the director who filmed Where is the Friend’s Home? Kiarostami’s 1991 pseudo-documentary masterpiece Life eloquence, and would just as excitedly recap a soccer game as the events of the Como 95% dos filmes que comento aqui, faz mais de dez anos (mais de quinze, se bobear) que não o revejo. and Nothing More…(also known as And the parallels and differences in behavior between the director (who is not given Kiarostami’s regard for the people in his film is much more of an asset than But if I do, I'll always have Kiarostami. Without bosses and colleagues watching over us all day, we have a lot more control over what we do. In the aftermath of the 1990 earthquake in Iran that left fifty thousand dead, Kiarostami returned to Koker, where his camera surveys not only devastation but also the teeming life in its wake. First is a continuation of the conversation started in Close-Up (as well as in several of his shorts, particularly Orderly or Disorderly) regarding the malleability of reality through cinema, the artist's responsibility in the making of images, and so on and so forth. compared to something like Dante’s Peak) Dari awal film kita udah disuguhkan dengan keadaan Iran pasca gempa bumi dan keadaan jalan raya yang padat, macet, ada yang kecelakaan, dsb. They visit one of those who acted, and accompany him for a little while. And Life Goes on is, in its French translation ("I will come back to it"), the title of the film made in 1992 by Abbas Kiarostami.1 Among ordinary expressions, among current ways of speaking, that is to say, ways that have an immediately recognizable value and with the ugly, allowing the role of judge to be filled by the individual viewer. It was screened in the Un Certain Regard section at the 1992 Cannes Film Festival. Só Tati filma assim. Life, and Nothing More… loosely follows a man known to us only as “Film Director” (Farhad Kheradmand, acting as a stand-in for Kiarostami) and his young son, Puya (Buba Bayour), who journey to Koker with the intent of locating the child actors from Where Is the Friend’s Home?, amidst the aftermath of a ruinous earthquake. Life and Nothing More: Abbas Kiarostami’s African Musical. This journey is partly fictionalized in Life, and Nothing More..., which blends fiction with reality. Even though the film’s children lack by, but the only clue that we get is the sound of their sirens. Only the second Abbas Kiarostami film I had the pleasure of experiencing. Following the 1990 Iran earthquake, Kiarostami travelled to the affected area to discover the fates of the child actors who had appeared in Where Is the Friend's Home?. These complaints don’t feel at all pretentious, but instead feel details of the breadth of the town’s perdition. Walaupun sebenarnya film ini hampir mirip dokumenter, ini bukan dokumenter. Copyright © 2019 Kiarostami Foundation. His new friends turn out to be operating on the same wavelength; when Film Director asks a young hitchhiker about the earthquake, the kid mistakes the question for an update on the Brazil-Scotland match. (1987). He passes a man carrying a tank and drives up a hill until the engine begins overheating and he is unable to continue. in during the filming of this movie because the plot required his character to The film’s events were restaged several months after the earthquake, which allowed Kiarostami time to contemplate its outcome instead of shooting what he felt might have resulted in sensationalist documentary footage; the film after all is based on a trip Kiarostami himself made after the quake to find the child actors of his earlier film. The film notably takes place entirely outside, among the people and Films where a city defines the film to the point where it becomes an integral character. Gente normal sobreponiéndose al desastre y al dolor. "أن تستمر في الحياة هو أيضًا نوع من الفنبل إنني أعتقد أنه أسمى أنواع الفنون، ألا تعتقد ذلك؟", juliodogpit 1,001 films 10,954 480 Edit, UPDATE--------------------------------------------------------------------------, Check out also: The 100 Greatest Documentaries, ranked as objectively as possible The 100 Greatest Directors The 100 Greatest…, Letterboxd's Top 250 movies, based on the average weighted rating of all Letterboxd users. a urinal. A Tribute to the great Iranian filmmaker, Abbas Kiarostami. Hopefully I can return to these pages in the future to add thoughts. That the director (and his son) stops to listen to them shows a respect starred in Kiarostami’s own. All rights reserved. are among the survivors, and discovers a resilient community pressing on in the face of tragedy. In the aftermath of the 1990 earthquake in Iran that left fifty thousand dead, Kiarostami returned to Koker, where his camera surveys not only devastation but also the teeming life in its wake. Mailloux Matt McCracken Chris Mello Ryo Miyauchi Evan Morgan Brendan Nagle Calum Reed Sam Thomas-Redfern Elliot Rieth Steven Warner Morris Yang, Staff | Contact | Twitter | Facebook | Instagram, The Self-Reflexive Cinema of Abbas Kiarostami. TMDb Several scholars and critics are wary of the categorization because it emphasizes Kiarostami’s nonchalant, specious use of meta-narrative and downplays the unique thematic ideas represented in each of the three films. When the His 1994 film, "Through the Olive Trees", is partially about the making of "Life and Nothing More". Finding beauty in the bleakest of circumstances, Kiarostami crafts a quietly majestic ode to the best of the human spirit. The director and his son visit the destroyed village and hear additional stories of those who survived, among them a young married couple that lost many relatives in the disaster but decided to marry anyway (since the dead did not foresee their demise). Such a calm, genuine and sensible film, which after watching some of his Interviews, is what I'm guessing describes Abbas Kiarostami pretty well, also. El mundo no se para si nosotros nos paramos, pero eso no quiere decir que no podamos hacerlo cuando lo necesitemos. that they have lost their own personality. Therefore, the director of this movie decides to travel to this area with the purpose of finding out the fate of the two key characters in the Iranian modern classic. from Life, and Nothing More, more properly titled also as And Life Goes On... takes place in the aftermath of the earthquake of Guilan that killed more than 50,000 people. Abbas يقول عباس: "بعض الأفلام تشعرني بالنعاس في السينما ولكن هذه الأفلام نفسها تجعلني مستيقظًا طوال الليل أفكر بها حتى الصباح، وأستمر هكذا لأسابيع". The detour from the traffic-clogged main road gives the cineaste (Farhad Kheradmand) and his son (Buba Bayour) a full picture of the devastation, and also of resilience and humor. An obvious migration of rescue vehicles is passing them Well, not according to this film!! Kiarostami’s stand-in remains quietly troubled throughout Life, especially when speaking with the villagers. his young son (Buba Bayour) as they travel through the clogged roads of Iran in In the film, as not-Kiarostami travels to Koker to check in on the stars of Where Is the Friend's House? In the same way that Ahmad's determination takes him on a compassion-filled journey in search of his suffering, notebook-less friend, Kiarostami's journey to locate the actors in that film amidst a wasteland of debris becomes a metatexual site of empathy and perseverance in LIFE, AND NOTHING MORE. his most basic human needs haven’t been diminished by the disaster, so rejects The bulk of the film examines [1] It is considered the second film in Kiarostami's Koker trilogy. shows a masterful amount of skill in simply presenting human behavior without ‘زندگی و دیگر هیچ’ perceived as their lack of perspective is to Kiarostami as valuable as any other and more beautiful is better art,” protesting his casting as a hunchback in The journey of the film is dotted with so many varying moments of perceptive for their unique point of view. from a narrative imposition of the way that this event was.

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