At 76, Abbas Kiarostami died in Paris of gastrointestinal cancer and after several operations. It was one of the greatest filmmakers in the history of cinema, someone with not only a voice but also one of those directors who identified with the cinematography of a country. It was impossible to tell Iranian cinema without naming then
His identity as the author was as strong as mutant. Few filmmakers have been able to ask so often by the statute of film and reality so badly to constantly refound his career, to remain true to himself. From its short-seventies in Iran, which included educational films until his last film, Like Someone In Love , filmed in Japan,
Born in Tehran on June 22, 1940, Kiarostami traveled the world with his films, especially from the late eighties, with the presentation in Locarno Where is the friend’s house? and the Palme d’Or for taste of cherry Cannes 1997 ( ex aequo the eel Shoei Imamura) and made films in Europe and Africa.
His first feature film was just Voyager ( Mosafer / The traveler , 1974), an account of initiatory journey, learning and maturing, a successful mix of style formation director and the 400 blows of François Truffaut, about a boy named Ghassem breathing, dreams and yearns football, and travels to Tehran to watch a game .
among his works made between this film and its international recognition ultimately more than a decade later may even recommend things like toothache (educational film for the boys wash the teeth produced by the Institute for the Intellectual Development of Children and Adolescents) because Kiarostami was a complete filmmaker, whose eyes became interesting to orders like that.
An unexpected success
in 1983 made a particularly bright medium-length documentary called countryman , study of urban customs, motorists in a cut traffic street. If in that movie could be unthinkable similarities and connections between Iranian and Argentine great connection between Kiarostami and the country come to the premiere at the Lorca Film Taste of Cherry in 1998, he held the attendance record for that movie, with 130,000 spectators and months poster. The performance of that copy was higher than those of Titanic , at that time the most watched film in history in Argentina and the world.
Later more films estrenarían director, prior to taste of cherry ? Where is the friend’s house , and life goes and a through the olive Trees. Koker Trilogy , a trio of magnificent films (above all the last two). Among them, Kiarostami made another of his masterpieces (also recovered as a premiere in Buenos Aires) and one of the key films of cinema of the twentieth century: Close-Up on the actual case of Hossein Sabzian, who posed Mohsen Makhmalbaf by the director to a family, and the subsequent trial. Kiarostami more than once stood out as the favorite of his films. In it, the filmmaker reflects on the film procedures and goes far beyond the game of film within a film.
An unstable truth
Kiarostami bet, as in most of his films , by a statute of truth oscillating, unstable: the marks on the image, reflexes, in frames that define and redefine what is in the center. Panning from the windshield of the car and play with the audio on the bike Close-Up , landscapes and prospects Through the Olive Trees, the wind will carry us , taste of cherry , children of Where is the friend’s house? and The White Balloon (with his written and directed by Jafar Panahi), walks and drifts Juliette Binoche in Certified copy , the experimental area Five (Dedicated to Ozu) , the lesson film Ten and reflection to the square of Ten on Ten , ways of circumventing censorship your country and then to continue making films out by growing political difficulties, elegant presence at festivals, his penchant for car travel.
have barely begun to put into perspective Kiarostami, to glimpse its huge legacy. Maybe it’s just remember especially the tenacious hope, perseverance exhibited by the director on And life goes , film-reflection after an earthquake bloody pain. His final and conversation Kiarostami alter ego in the movie with the girls washing the dishes are only two of those moments that is not an exaggeration to call as epiphanies.
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