As Abbas Kiarostami 1997 won the Cannes Festival “Taste of Cherry”, he received from the actress Catherine Deneuve, not only the Palme button in the hand, but also a peck on the cheek. This alone was enough to trigger a fierce debate in his Iranian homeland, which culminated in the demand to ban the film.
criticized spokesman Islamic Parliament that Iranian films were sent to Western festivals and funded by Western donors – in the full knowledge that the Iranian foreign minister had personally negotiated with the Cannes-chief, to bring the “cherry” still in the competition; the deadline was in fact already expired.
Probably the most interesting film plant in the world
This example shows the internal tugging forces on Iranian filmmakers. But not only internal. Since Kiarostami’s “Where is the Friend’s Home?” Almost 30 years ago won five prizes at the festival in Locarno, the festival jockey for films from Iran world; it is seen over a distance of three decades, probably the most interesting cinematography of the world.
MK2, the French co-producer of Kiarostami’s “The Wind is carry us, “forbade a first in Iran, because the film should only come out in Venice; there he won the Grand Prix.
The revolution he experienced as a liberation from the Shah’s regime
Abbas Kiarostami, its influence can be discovered at almost any of the major Iranian directors of our time, was not a child of the Islamic Revolution. He had already turned a dozen films before Khomeini came. He had led the prestigious Centre for the mental development of children and adolescents. He felt, as many, the revolution as a liberation from the oppression of the Shah regime, and actually had scripts for five years from 1989 to 1993 no longer be authorized. His films deal with a lot of children are never shot in studio, like to play on the land and can be – to Western eyes – infinite amount of time
Now have Kiarostami films the censorship sensitive topics – social criticism, political opposition, the lot of women – largely shunned. Women are with him either absent or remain in the background, and when they appear, they are farmers or older. What almost entirely absent, is the modern, young, urban woman who might come into conflict with the ideas of morality police.
The big exception is “Ten “in which a woman in a car driving through a city and pickup brings with him, including women who were abused by their husbands. “Ten” was the model of Jafar Panahi “Taxi”, but actually more radical, for only the image of a woman at the wheel is in the Middle East such thing as a feminist act.
aid in suicide in Tehran
Many Iranian films playing in the car, because you can then escape the supervision of censorship better, and the gaunt middle-aged protagonist of Kiarostami most famous film “taste of cherry” drives through Tehran, by the ugly suburbs. He looks for a helper who has a blade and not asking questions, because the hero wants to commit suicide. The accomplice to shovel the grave, he is taking sleeping pills and put up, and then he will be verbuddelt, and no one should know what has become of him.
” taste of cherry “is no open criticism of conditions in Iran, we learn nothing about the motives of suicides and his circumstances. That raises the film, although obviously in Tehran playing on a general human level. The problems of Kiarostami’s characters were always universally human, not caused by a particular form of society, and therefore the censor took him less than a bead or Panahi Makhmalbaf or Majidi. Kiarostami remained his country against always loyal, even though he spent much time in Paris.
Kiarostami’s films were never fasten precisely. They swung between illusion and reality, certainty and uncertainty, were never an either-or, but always a both-and. His film language was alien to the West and that is why fascinating. His many car dialogues he always filmed with the camera look at only one of the speakers; when the other replied that he did not cut on his face.
The us of US writer gurus dictatorial unclaimed identification with a protagonist he prevented with a simple trick In almost all his films there is a middleman, through whose eyes the story is shown: an inspector, a reporter, a filmmaker, which filters and attenuates the emotions. The wide scope of the cinema, ranging from the loud action to silent reflection, he was the great meditator, always a little sad, but sometimes surprisingly humorous.
In summer 1995 Kiarostami was of the” canonised Cahiers du Cinéma “with a title screen; the booklet dedicated to his work almost 50 pages. Jean-Luc Godard reportedly said: “The film begins with D. W. Griffith and ends with Abbas Kiarostami.” On Monday Kiarostami’s 76-year died from cancer in Paris.
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