He has made true the dream of the development of art in cinema. What once seemed like reserved the lyric art forms that subjective perception of reality and artful self-assimilate, Abbas Kiarostami has transferred with the camera on the screen. He accompanied over nearly half a century, the presence of Iran, and so full of change were the fortunes of his country, as he did so often with a friendly smile.
he loved early to drive across the country and take pictures. This habit is reflected directly in its work contrary: Many of the recordings Bladeless trees, fences, he has taken out of the car of snow – because we most the same way perceive: not as picturesque or even bucolic landscape, but as a cutout from the frame the windscreen is defined.
the car as the preferred place of his actions is Kiarostami faithful as a director remained. to turn There proved to be not only inexpensive. It was also a place that does for people who are facing the films skeptical an independent and invisible. The car provides a protected space in which one can say unheard what you want.
Kiarostami was born in 1940 in Tehran. He studied art, but later said about this time, he had then learned above all that he was not a painter. After graduating, he worked for the government institution that dealt with education and mental development of children and adolescents. He turned educational films for children and documentaries about them. It was a period of creative experimentation, because the device has been financed by the state and could Kiarostami with light and sound and new techniques experimenting as it would probably have been impossible for him as an independent director there.
In addition, he started making his own films. First Case, Second Case is the story of a teacher who wants to find out which students talked about him behind his back. And it is also the tragic, unintentionally funny story about how Kiarostami was delivered to his home governments. For the first version of the late 1970s created a documentary film Kiarostami showed the reactions of Education Representative of the Shah’s regime. Then Ayatollah Khomeini proclaimed his Islamic Republic and Kiarostami filmed again comments, this time by representatives of the new regime. Initially impressed by First Case, Second Case , seeing it as a parable on the practices of the secret police of the Shah, the new rulers banned shortly after the film because it also estimates of politicians could be heard, whose parties she had since been banned. Only in 2003 was First Case, Second Case at all to see them again.
Nevertheless Kiarostami saw never as a resistance fighter or even martyrs. And while many of his colleagues with whom he had the Iranian nouvelle vague reasons, after the revolution left the country, remained Kiarostami. For a long time his films, whose art so deeply rooted in the culture of Iran, banned in his home country and can only be seen on pirated. The government has not only the cinemas in the country, he once said in an interview, but also access to the means of production such as editing programs. Den has always more difficult for him. Yet his film Taste of Cherry , which he shot in 1997 and for which he was awarded in Cannes with the Palme d’Or, he had largely cut at night – simply because they were the only times that you him had allocated for the editing room. And even the suspicion that they had for him because of his great success in the West, Kiarostami took off with fine irony: Presumably the government wittere a conspiracy; the West bejuble especially the poor Iranian films with intent.
It is more likely that in his home scrabbled on the themes of his films. In Taste of Cherry a man who has the firm intention examines the evening with tablets to kill, a helper who pronounced dead in the morning, and the grave is zuschaufeln. In Iran’s suicide – despite or because of the high suicide rate – a taboo, the film was not released by the censors. The ceremony, which was the film in Cannes, could also be read as time well that you wanted to strengthen the filmmaker back.
The violent storm of protest but then sparked not the Palme d’Or, but the kiss he pressed on the cheek during the award ceremony in the exuberance of his laudation Catherine Deneuve. So outrageous is that Kiarostami initially failed to return to his home, but waited until the rebellion had laid was.
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