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- mid 90s celebrated Iranian director Abbas Kiarostami his greatest successes ( Photo from 1994). (Imago / Leemage)
A film is good, if the censor does not know what should be censored, Abbas Kiarostami has said. The director helped the Iranian cinema mid 90s to world renown. Now Kiarostami died at the age of 76 years.
Born in Tehran in 1940 Director is now considered the most important representative of the modern Iranian cinema. After art school Abbas Kiarostami had refused, he worked first as a street cop, and then to work as a commercial director.
the end of the 60s he co-founded the film section of the national children’s and youth education. Today a prestigious film studio it has developed -. At the same time a niche in which he produced his films in nearly 30 years
The Iranian cinema language, the poetry of everyday life and the ordinary people at the center, was strongly influenced by Kiarostami.
“the language of cinema is the language of feelings. the stories of cinema can tell by pictures or by words. I prefer the language of images.”
Simple, subtle and rigorous images
a dry riverbed, factories, pipelines, blocks of concrete, children playing on barren slopes a steppe landscape, a desolate suburb. With these images the Cannes 1997 winner of the Palme d’Or film begins “Taste of Cherry”. The smell of dusty earth, the glow of the autumn colors, the sounds of fieldwork – Kiarostami’s films rely on these sensory experiences
Kiarostami preferably a simple aesthetic and simple, subtle and rigorous pictures.. He overwhelmed not by technology or special effects, but by stunning images grandiose landscapes roamed deserted villages in inhospitable areas.
added an almost hypnotic effect
Some settings, at dusk, are almost monochromatic, brown or yellow color luminous fields – images that are reminiscent in their almost hypnotic effect on the American painter Mark Rothko
One sinks into his pictures and want to stop there long. every little thing is great – clearly and clear as the wind and the light passing through the image. Where else can you see this today in the cinema?
Anyone in his life a film by Kiarostami looks for the first time, will remember this happiness long. And it henceforth recognize his handwriting again.
The audience on the wrong path Send
Kiarostami turns into unworldly areas of his home, in karst landscapes with mostly village lay. He documented the severity of the human condition and adjusted again and again the precarious relationship of suffering and poverty and prosperity.
And it pleases him to send the viewer on the wrong path and to direct them to their own fantasies.
“I want the viewer gets not purposed something finished . I call the ‘unfinished cinema’. as a director, I put ‘empty boxes’ on, like in a crossword puzzle, which are areas that then can the audience itself filled in. and why should the thought or philosophizing not be entertaining? ”
Kiarostami understood rather as an observer, who looks as thickens the reality into a film. He studied in “And the Band Played On” for a child actor, whose house is collapsed in a terrible earthquake. And in “Through the Olive Grove” is the Iranian filmmaker, how many turns a movie can take and how simple transactions can change the course of a play at any time, in real life as in the movie.
The ” sharp scissors “censorship escaped
Kiarostami makes life just happen. There is no dramatic pattern of the kind of “good vs. evil”. It is the great slow unspectacular narrative flow – spectacular, however, is the wisdom of the simple illustrated by him human. This is the central point in Kiarostami’s cinema view
“I do not want that cinema an even somehow set definition is subjected -. Because I am convinced that the cinema no fixed definition in need. “
films of Abbas Kiarostami seem radically contradicting the image that we have of Iran and its Muslim community.
on the question of whether the censorship restricts him he says: his films are the “sharp scissors” of censorship always escaped. And a film is good, if the censor does not know what should be censored
Listen to to the death of the director also our yesterday’s “Conclusion” -Gespräch with film critic Anke Leweke
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