Cancer is not the name of a deadly wind; is the name of an impious and even invincible disease. The great Iranian master Abbas Kiarostami had it and, when it was believed that had been imposed on that cell derangement and returned on a project linked to make a film in China, came the news: the extraordinary director The taste of cherries has died.
The death was never alien to his films. Examples are obvious: children dying in Africa from AIDS in its controversial ABC Africa ; the 100 year old woman who is dying and waiting to photograph a journalist The Wind Will Carry Us ; victims of an earthquake in Iran and the survivors who are continuing in And life goes ; or the man decided to end his life because he does not feel compelled to persist in the world, as in Taste of Cherry .
The inevitable act of ceasing to exist was examined in different ways, but the filmmaker never conceived in death no state of spiritual liberation. Kiarostami was a filmmaker of immanence. The limit of his vision was the matter and very few could grasp the beauty and mystery of the world like him. Any plane The Wind Will Carry Us and Roads of Kiarostami is an absolute proof of that bond with the order of the sensible.
As is known, the filmmaker began his career making films for a center dedicated to the development of intelligence in children and adults. His work with children begins there, and after doing some films that institution, Kiarostami, who had studied painting, choose film as its main artistic medium. Kiarostami was also a photographer eximio and wrote poetry.
The consecration of the director came in 1997 when he won the Palme d’Or at Cannes for Taste of Cherry . By then he had already made extraordinary films such as those that make up the Trilogy Koker ( Where Is the Friend’s Home? , And life goes , Behind the olive ) and absolute masterpiece: Close up . In this glorious film, a common man who worked in a printing pretended to be compared to a wealthy family in Tehran, the other major Iranian filmmaker of modernity: Mohsen Makhmalbaf. In the film, Mr. Sabzian, the protagonist, asked the director: “Can you shoot my suffering?”
The Iranian teacher always had a deep concern regarding the interaction of classes in your film and when he filmed in the remote villages of his country life of ordinary people playfully he incorporated the distance between the filmmaker and is filmed.
Kiarostami also made experimental films, such as Ten , Shirin and Zinc or, in the fourth quarter of his career filmed in Italy and Japan. He never stopped being himself, but neither stopped propose new ways to go.
There is no better filmmaker to understand the elegance of offscreen Kiarostami. The dialectic between showing and not showing delineated the form of all his films. The most important character narratively The Wind Will Carry Us is not never saw but what it heard in several sequences. In that film there was talk of finitude, and the femur of a man found in the earth synthesized meditation on the inescapable know: who lives knows that awaits a limit, an end. Kiarostami has jumped to a unfilmable scenario, the large field outside that no image is known. Those who were on this side of the world we are lucky to have their films.
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