In 1989 in Tehran, a movie mad unemployed printer named Ali Sabzian was arrested for impersonating the famous film director Mohsen Makhmalbaf. The family he had fooled was deep in rehearsals for his next “film” when they alerted authorities of their suspicions. “I loved playing that part,” confesses Sabzian in his trial. When the judge asks the Ahankah family if they will drop the charges in light of Sabzian’s apologies and explanations, one of the sons replies “I get the impression he’s still playing a role.” Continue reading
A documentary film about a boys school in Iran. The film shows numerous, funny and moving interviews of many different young pupils of this school summoned by their superintendent for questions of discipline. The man is not severe, but clever and fair. He teaches loyalty, fellowship and righteousness to these boys. Besides these interviews, we see scenes of this school’s quotidian life. Written by Jean-Louis Sauger Continue reading
Plot: Earning his keep at a photography studio where he also sleeps, an orphan aspires to be closer to the object of his affection, an older girl from a higher social class.
An adolescent boy, old for his years like so many of Kiarostami’s (or Iran’s) working children, juggles a job as a photographer’s assistant, a first crush, and the urge to sample adulthood’s temptations (cigarettes and movies). This beautiful exercise in storytelling virtually without words is shot with the crispness and stark contrasts of Kiarostami’s still photography. But this vista teems with humanity—not only that of the boy, who is essentially without family (he sleeps at the photography lab), but of the adults he encounters (and who invariably let him down) on the urban pathways he courses. In his young actor, Kiarostami found a face and soul made for the screen. —Judy Bloch Continue reading
User review on imdb by rasecz :
Educational film about the advantage of being orderly
A school scene. Class has ended. Students walk down the stairs in an orderly fashion. Good. Now rewind. Class has ended. Students walk down the stairs in a disorderly fashion. Bad.
The students make their way to a central court for their classroom break. A single water dispenser is at the center. Some students gather to drink. In orderly fashion it takes them a minute and ten seconds to satisfy their thirst. Rewind. In disorderly fashion it takes them three minutes and the dispenser is trashed in the confusion.
The point? Orderly behavior is efficient.
The dualist approach is now applied to pedestrians crossing a street. Orderly requires waiting for the green light. Disorderly means dodging cars and forcing cars to brake.
A little girl with beautiful hair. She loves movies and wants to become an actress. She is being told about the plot of a movie that she is going to play: “a friend is jealous about her hair and cuts it when she is asleep”. The girl rejects playing the role. Then she is then told that she can play the jealous girl but she again rejects the role. Written by Anonymous Continue reading
An old man and a young woman meet in Tokyo. She knows nothing about him, he thinks he knows her. He welcomes her into his home, she offers him her body. But the web that is woven between them in the space of twenty-four hours bears no relation to the circumstances of their encounter.
Festival de Cannes.com
According to Martin Scorsese, “cinema is a matter of what’s in the frame, and what’s out.” The Iranian filmmaker Abbas Kiarostami applies this axiom with particular rigor. In the first scenes of Mr. Kiarostami’s latest feature, “Like Someone in Love,” we are very much aware of what is not in the frame. We are in a Tokyo bar, listening to a series of conversations that involve a woman we cannot see… he structure of the film is, by Mr. Kiarostami’s standards, fairly straightforward, even conventional: it has a teasing start, an expository middle and a startlingly (though not unpredictably) dramatic end. And yet every shot — everything you see, and everything you don’t — imparts a disturbing and thrilling sense of discovery.
On a chaotic and congested highway toll interchange, an off-camera toll clerk listens impassively to a humanitarian public service radio broadcast from a Red Crescent spokesperson urging listeners to consider adoption of the many children who have been left orphaned as a result of the recent devastating earthquake in northern Iran. An unnamed, middle-aged film director (Farhad Kheradmand) stops at the tollbooth and inquires about the condition of the main road to Rudbar, having been turned back a day earlier at the intermediate town of Manjil due to the impassability of the route. Accompanied by his son Puya (Puya Pievar), the director is hoping to reach the village of Koker in search of the Ahmadpour brothers: two boys who had appeared in his film, Where is the Friend’s House? (a self-reference to Abbas Kiarostami’s earlier film). However, the director’s plans are soon derailed when a police officer explains that the road is only available for access by emergency and supply vehicles. Attempting to traverse the main road as far as he is able to (and allowed by the emergency authorities to travel on the road), he inevitably finds himself snarled in an interminable traffic juggernaut on the outskirts of Rostamabad. Spotting a convenient rural side road through the hills, he takes an impulsive detour through earthquake-ravaged communities and makeshift tent relief aid centers in search of an alternate route to the remote village and, in the process, encounters a series of aggrieved, but resilient earthquake survivors as they slowly rebuild their scarred lives after the incalculable tragedy Continue reading