Abbas Kiarostami

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Abbas Kiarostami (22 June 1940 – July 4, 2016) was an Iranian film writer, screenwriter, photographer, and film producer.

Kiarostami, a 1970 film-maker, had been involved in the development of over forty films, including shorts and documentaries.

Kiarostami received critical acclaim for directing the Koker trilogy (1987-1994), Close-Up (1990), The Wind Will Carry Us (1999), and Taste of Cherry (1997), which were both awarded the Palme d'Or at the Cannes Film Festival that year.

He filmed in Italy and Japan for the first time outside Iran in subsequent films titled Certified Copy (2010) and Like Someone in Love (2012).

In a 2018 critics' poll by BBC Culture, his films Where Is the Friend's Home?, Close-Up, and The Wind Will Carry Us were ranked among the 100 best foreign films.

In the famous decennial Sight & Sound poll released in 2012, Close-Up was also ranked as one of the best films of all time, film editor, art director, and producer, as well as creating credit lines and advertisement copy.

He was also a writer, photographer, painter, illustrator, and graphic designer.

He was one of a generation of filmmakers in the Iranian New Wave, a Persian cinema movement that began in the 1960s and includes pioneering filmmakers such as Bahram Beyzai, Nasser Taghvay, Ali Hatami, Masoud Kimiai, Dariush Kimiai, Sohrab Shahid-Saless, and Parviz Kimiavi.

These filmmakers used child protagonists extensively for documentaries, literary dialogue, and allegorical storytelling in southeastern villages, as well as inside cars using stationary mounted cameras.

He is also known for his use of Persian poetry in dialogue, titles, and themes of his films.

Kiarostami's films are notable for their ambiguity, an unusual mixture of simplicity and complexity, as well as a mixture of fictional and documentary elements.

In addition to the life and death themes, change and continuity play a major role in Kiarostami's books.

Early life and background

Kiarostami was born in Tehran. He began painting in his teens, winning a painting competition at the age of 18 right before he left home to study at the University of Tehran School of Fine Arts. He majored in painting and graphic design, and he supported his studies by serving as a traffic cop.

Kiarostami, a painter, designer, and illustrator, spent time in ads, designing posters and creating commercials in the 1960s. He shot around 150 advertisements for Iranian television between 1962 and 1966. He began making credit titles for films (including Gheysar by Masoud Kimiai) and illustrating children's books in the late 1960s.

Personal life

Kiarostami married Parvin Amir-Gholi in 1969. Ahmad (born 1971) and Bahman (1978), respectively, had two sons. In 1982, the couple got divorced.

Kiarostami was one of the few Iranian politicians to survive after the 1979 revolution, though many of his peers left the country. It was one of his career's most significant decisions, according to the author. His permanent base in Iran and his national identity have boosted his potential as a filmmaker:

Kiarostami wore dark glasses or sunglasses often, which he needed due to a light sensitive.

After two operations, Kiarostami was hospitalized due to intestinal bleeding and reportedly went into a coma. Kiarostami was suffering from intestinal cancer, according to a Ministry of Health and Medical Education spokesperson. Reza Paydar, the film's medical team's director, released a statement on April 3 denying that the filmmaker had cancer. However, in late June, he left Iran for medical care in a Paris hospital, where he died on July 4th, 2016. Kiarostami had been accepted to appear in Hollywood the week before his death as part of efforts to broaden the number of its Oscar judges. According to Ali Ahani, Iran's ambassador to France, Kiarostami's body would be sent to Iran to be buried in Behesht-e Zahra cemetery. After being flown back to Tehran from Paris from Paris, it was revealed later that his body would be buried in Lavasan, a resort town about 40 km (25 mi) northeast of Tehran, who was based on his own will. His body was returned to Imam Khomeini International Airport in Tehran on July 8, 2016, although a crowd of Iranian film producers, actors, actresses, and other artists were waiting in Tehran airport to show their respects.

On August 8, 2016, Mohammad Shirvani, a fellow filmmaker and close friend, referred to Kiarostami on his Facebook wall: "I don't believe I could stand and direct any more films." [His digestive system] was destroyed by them [the medical team] [his digestive system]" Following this tweet, Iranians' campaign on both Twitter and Facebook to investigate the possibility of medical error during Kiarostami's operation. Ahmad Kiarostami, his eldest son, denied any medical error in his father's care after Shirvani's words that his father's health was not cause for alarm. Following Kiarostami's death, Iranian Medical Council President Dr. Alireza Zali sent a letter to his French counterpart Patrick Bouet, asking him to forward Kiarostami's medical file to Iran for further investigation. Kiarostami's family filed a formal accusation of medical neglect through Kiarostami's personal doctor on September 13, 2016. Dariush Mehrjui, another well-known Iranian cinema producer, also slammed Kiarostami's medical staff and demanded court intervention.

Martin Scorsese said he was "deeply shocked and sad" by the news. Asghar Farhadi, the Oscar-winning Iranian film-maker who had been scheduled to fly to Paris to visit his sister, said he was "very sad, in total shock." Mohsen Makhachmalbaf echoed his sentiment, saying that Iran's cinema owes its international recognition to his fellow director, but that this exposure did not extend to greater exposure for his work in his homeland. "Kiarostami gave the Iranian cinema the international recognition it had today," he told The Guardian. "Unfortunately, his films in Iran were not as well appreciated." He changed the world's cinema; he revived it and humanized it in comparison to Hollywood's rough version." In a separate message, Persian mystic and poet Jalal al-Din Rumi's 22nd niece, Esin Celebi, expressed her regret for Kiarostami's demise. UNESCO's representative office in Iran opened a memorial book in honor of Kiarostami.

Rouhani, the president of Iran, said on Twitter that the director's "different and profound outlook on life as well as his invitation to peace and friendship" would be a "long achievement." Kiarostami's death, according to foreign Minister Mohammad-Javad Zarif, was a tragedy for international cinema. French President François Hollande praised the director for forging "close artistic ties and deep friendships" with France in a tweet.

The New York Times, CNN, The Guardian, The Huffington Post, The Independent, The Associated Press, Euronews, and Le Monde all responded to Kiarostami's death. "Abbas Kiarostami, Acclaimed Iranian Filmmaker, Dies at 76," Peter Bradshaw paid tribute to Kiarostami, "a sophisticated, self-possessed master of cinematic poetry."

The River Seine brought the crowd to this service in Paris. The waves of the Seine were then able to carry away photographs of Kiarostami that had been left floating on the river, which was then allowed to be carried away by the crowd. Many Iranians had come to mourn the passing of a film director at a moment when many Iranians had come to ode to it.

On July, artists, cultural officials, government officials, and the Iranian people mourned Kiarostami's deaths in France six days after his assassination in Haiti. The ceremony was held at the Center for Intellectual Education of Children, where he began his film-making career some 40 years ago. Attendees held banners showcasing his films and photos of his most famous posters as they lauded Kiarostami's contribution to culture and filmmaking in Iran. Parviz Parastooie, a well-known Iranian actor, was on hand for the occasion, as well as award-winning film director Asghar Farhadi, who highlighted his professional abilities. In the northern Tehran town of Lavasan, he was later buried in a private ceremony.

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Film career

Kiarostami, who appeared in Dariush Mehrjui's film Gv, in 1970, helped establish a filmmaking section at Tehran's Institute for Intellectual Development of Children and Young Adults (Kanun). Its debut film, and Kiarostami's first film, was The Bread and Alley (1970), a neo-realistic short film about a schoolboy's encounter with an aggressive dog. In 1972, a breaktime was observed. The department became one of Iran's most well-known film studios, releasing not only Kiarostami's films but also celebrated Persian films like The Runner and Bashu, which also produced The Little Stranger.

Kiarostami's 1970s filmmaking followed an individualistic approach. He began by discussing his first film: "It's true," he said.

Kiarostami published The Traveler (Mossafer) in 1974, following the experience (1973). The Traveler shares the tale of Qassem Julayi, a young and troubled boy from a small Iranian city. Intent on attending a football match in far-off Tehran, he scams his family and neighbors to raise funds, and flies to the stadium in time for the game, only to face an unexpected twist of fate. The film explored human behavior and the balance between right and wrong in focusing on the boy's determination to achieve his goal and his indifference to the consequences of his amoral conduct. It boosted Kiarostami's reputation for realism, diegetic simplicity, and stylistic complexity, as well as his fascination with physical and spiritual journeys.

Kiarostami produced two short films So Can I and Two Solutions for One Problem in 1975. He began Colours in early 1976, and A Wedding Suit, a fifty-four-minute film about three teenagers who are in conflict over a suit for a wedding.

The 112-minute Report (1977) was Kiarostami's first feature film. It revolved around a tax collector suspected of offering bribes; suicide was one of the underlying themes. He created and directed the First Case, the Second Case, in 1979.

Kiarostami produced Toothache (1980), Orderly or Disorderly (1981), and The Chorus (1982). He directed Fellow Citizen in 1983. It wasn't until he told Where Is the Friend's Home that it was not revealed. He began to gain fame outside of Iran (1987): These films became the basis for his later productions.

The film tells a simple tale about a conscient eight-year-old schoolboy's attempt to retrieve his friend's notebook in a neighboring village lest his friend be barred from school. The traditional beliefs of Iranian rural people are represented. The film has been praised for its poetic use of the Iranian rural landscape and its realism, two main features of Kiarostami's film. Kiarostami shot the film from a child's point of view.

Where Is the Friend's House (1992) (also known as Life and Nothing More), and Through the Olive Trees (1994) are included in critics' Koker trilogy because all three films depict the village of Koker in northern Iran. The films also refer to the 1990 Manjil–Rudbar earthquake, which killed 40,000 people. Kiarostami's films are based on themes of life, death, transformation, and continuity. The trilogy was a hit in France in the 1990s and other Western European countries, including the Netherlands, Sweden, Germany, and Finland. Kiarostami, on the other hand, did not consider the three films to be a trilogy. He proposed that the last two titles plus Taste of Cherry (1997) be a trilogy, given the common theme of life's preciousness. Kiarostami was instrumental in The Key's screenwriting in 1987, but did not control it. He came from Homework in 1989.

Close-Up (1990), Kiarostami's first film of the decade, narrates the tale of a man who impersonated film-maker Mohsen Makhachhachhaji, tricking a family into believing they will appear in his latest film. The family suspects were convicted of this charade, but Hossein Sabzian, the impersonator, claims that his motives were more complicated. Sabzian's moral justification for usurping Makhachmalbaf's identity is examined in this part-documentary, as well as his inability to detect his cultural and artistic flair. Ranked No. 2 in the U.S. Quentin Tarantino, Martin Scorsese, Werner Herzog, Jean-Luc Godard, and Nanni Moretti were among the top 50 Greatest Films of All Time, No. 42 in the British Film Institute's Top 50 Greatest Films of All Time, Close Up earned recognition from directors such as Quentin Tarantino, Martin Scorsese, Jean-Luc Godard, and Nanni Moretti, among other things, was distributed throughout Europe.

Kiarostami produced Life and Nothing More... in 1992, which critics regard as the second film in the Koker trilogy. A father and his young son are on the run from Tehran to Koker in the hopes of two young boys who may have died in the 1990 earthquake. When the father and son travel through the devastated landscape, they are surrounded by earthquake survivors who are trying to live in the aftermath of the tragedy. Kiarostami received the first professional film award of his career this year for his film direction. Through the Olive Trees (1994), the fourth film in the so-called Koker trilogy, brings a scene from Life and Nothing More into the central story. Critics such as Adrian Martin have described the Koker trilogy as "diagrammatical," referring to the zig-zagging patterns in the landscape and the geometric representation of life and the planet's forces. In turn, a glimpse of the zigzag route in Life and Nothing More (1992) incites the spectator's recall of the previous film, Where Is the Friend's Home? Shot from 1987, shortly before the earthquake. This relates to the post-earthquake reconstruction in Through the Olive Trees in 1994. Miramax Films premiered Through the Olive Trees in the US theaters in 1995.

For his former assistant Jafar Panahi, Kiarostami wrote the screenplays for The Journey and The White Balloon (1995). He was involved in the production of Lumière and Company, a collaboration with 40 other film directors between 1995 and 1996.

At the Cannes Film Festival for Taste of Cherry, Kiarostami received the Palme d'Or (Golden Palm) award. Mr. Badii, a man who is determined to commit suicide, is in a drama. Morality, the legitimacy of the act of suicide, and the meaning of compassion were all discussed in the film.

In 1999, Kiarostami directed The Wind Will Carry Us, which attracted the Grand Jury Prize (Silver Lion) at the Venice International Film Festival. The film compared rural and urban views on labor dignity, focusing on issues of gender and advancement by way of a stranger's sojourn in a remote Kurdish village. Many of the characters are heard but not seen in the film, which is an unusual feature; at least thirteen to fourteen speaking characters are never seen in the film.

Kiarostami was awarded the Akira Kurosawa Prize for lifetime achievement in directing at the San Francisco Film Festival in 2000, but the recipient, veteran Iranian actor Behrooz Vossoughi, was given the award for his contribution to Iranian cinema.

Kiarostami and his assistant, Seifollah Samadian, went to Kampala, Uganda, at the request of the United Nations World Fund for Agricultural Development to film a documentary about Ugandan orphanages. He stayed for ten days and became ABC Africa. The trip was originally intended as research for the filming, but Kiarostami ended up cutting the entire film from the video footage shot there. The large number of orphanages in Uganda has resulted from parent's deaths in the AIDS epidemic.

"This film, as with his previous four films, is not about death, but about life and death: how they're connected, and what kind of attitude we can adopt regarding their symbiotic inevitability."

Kiarostami directed Ten in the following year, revealing an unusual method of filmmaking and abandoning many scriptwriting conventions. Kiarostami's focus was on Iran's socioeconomic and political landscape. The photographs are seen through the eyes of one woman as she walked through Tehran's streets for a few days. The journey is made up of ten conversations with various passengers, including her sister, a hitchhiking prostitute, a jilted bride, and her demanding teenage son. A number of commentators have praised this method of filmmaking.

Kiarostami, "in addition to being the most highly admired Iranian filmmaker of the last decade," A. O. Scott of The New York Times said, "he sees the vehicle as a place of reflection, observation, and, most importantly, talking."

In 2003, Kiarostami directed Five, a dramatic film with no dialogue or characterization. It consists of five long shots of nature that are single-take sequences, shot with a hand-held DV camera along the shores of the Caspian Sea. Despite the fact that the film lacks a strong storyline, Geoff Andrew claims that it is more than just pretty pictures." "They comprise a kind of abstract or emotional narrative arc, ranging from movement to silence, near-silence to music and song, from motion to silence, light to silence, and back to light, ending on a note of rebirth and regeneration." "He talks about the degree of artifice hidden behind the apparent simplicity of the images."

Kiarostami was involved in the central section of Tickets, a portmanteau film set on a train traveling through Italy in 2005. Ken Loach and Ermanno Olmi produced the other segments.

In 2008, Kiarostami directed the film Shirin, which features close-ups of several prominent Iranian actresses and French actress Juliette Binoche, as they watch a film based on a partially mythological Persian romance story based on female self-sacrifice. "A compelling investigation of the relationship between image, sound, and female spectatorship," the film has been described as "a fascinating glimpse of the connection between image, image, and female spectatorship."

He supervised Wolfgang Amadeus Mozart's opera Cos fan tutte conducted by Christophe Rousset at Festival d'Aix-en-Provence in July that summer, starring William Shimell. However, the following year's performances at the English National Opera were impossible to direct due to a lack of visa access in the United States.

Certified Copy (2010), starring Juliette Binoche, was shot and produced in Tuscany and was Kiarostami's first film to be shot and produced outside of Iran. In the 2010 Cannes Film Festival, it was the story of a British man and a French woman encountering each other. "Certified Copy is the deconstructed portrait of a marriage by Juliette Binoche, but it's also bizarre, baffling, contrived, and often bizarre," Peter Bradshaw of The Guardian calls the film a "intriguing oddity." "Unmistakably an example of Kiarostami's compositional technique, but not a good example," the film director said. Roger Ebert, on the other hand, praised the film, claiming that "Kiarostami is rather brilliant in the way he creates offscreen spaces." Binoche received the Best Actress Award at Cannes for her role in the film. Criticals generally approved Kiarostami's penultimate film, Like Someone in Love, shot and shot in Japan.

In 2017, Kiarostami's last film 24 Frames was released posthumously. 24 Frames, Kiarostami's last photographs, received a largely critical response, with a Rotten Tomatoes score of 92%.

Kiarostami was a jury member of a number of film festivals, most notably the Cannes Film Festival in 1993, 2002, and 2005. In 2005, he was also the president of the Caméra d'Or Jury jury in Cannes. He was revealed as the president of the Cannes Film Festival's Cinéfondation and short film sections.

Other notables include the Venice Film Festival in 1985, the Locarno International Film Festival in 1990, the San Sebastian International Film Festival in 1996, the Capalbio International Film Festival in 2004, and the Küstendorf Film and Music Festival in 2011. He appeared at several other film festivals around Europe, including the Estoril Film Festival in Portugal.

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