Abbas Kiarostami

Abbas Kiarostami – ABC Africa (2001)

Abbas Kiarostami and his assistant, Seifollah Samadian, travel to Kampala, Uganda at the request of the UN’s International Fund for Agricultural Development. For ten days, their camera captures and caresses the faces of a thousand children – all orphans – whose parents have died of AIDS. Recording tears and laughter, music and silence, life and death, the film attests to Africa’s sunny resilience in the face of so much suffering and disease. Read More »

Abbas Kiarostami – Zendegi Va Digar Hich aka And Life Goes On (1991)

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). Read More »

Abbas Kiarostami – Tadjrebeh AKA Experience (1973)



A fourteen-year-old boy is employed as general assistant in a photographer’s studio, where he is also allowed to sleep. From afar, he is in love with a girl who lives in a wealthy district. One morning, he comes to offer his services at the girl’s parents’ house. There seems to be a ray of hope. But that evening the answer is negative, and final… A sort of adolescent double of the young boy in Zang-e Tafrih , the young Mamad of Tadjrebeh has a different obsession: rather than his football, he is attached here to the face of a girl, the painful result of love at first sight. Rootless and homeless, Mamad is a body borne on the flux of the town, his nameless and aimless anguish soothed by a ride round the courtyard on his elder brother’s moped or the half-bare waist of a woman followed in the crowd… Counters, doors and windows punctuate this film of absence, as well as images: the photographs which the apprentice files and stamps, mirrors of elsewhere, of another possible world. Read More »

Abbas Kiarostami – Dow Rahehal Baraye yek Massaleh AKA Two Solutions for One Problem (1975)


دو راه حل برای يک مسئله‎

Two young boys are classmates. When Nader returns his friend’s notebook, the cover of which he has inadvertently torn, the other is faced with two solutions: either he takes revenge or the two boys look for a solution together, glue for example, and thus remain good friends. Read More »

Abbas Kiarostami – Lebassi Baraye Arossi AKA Wedding Suit (1976)


لباسی برای عروسی

A woman orders a suit from a tailor for her young son to wear to her sister’s wedding. The tailor’s apprentice, together with two other teenage boys who work in the same building, devise a plan to try on the suit at night to see what it feels like. Things get a little complicated but in the morning, at the last possible minute, they manage to return the suit to its proper place. Read More »

Abbas Kiarostami – Roads of Kiarostami (2006)


جاده‌های کیارستمی

Abbas Kiarostami has recently been exhibiting his black-and-white landscape photographs at venues around the world, and Roads of Kiarostami is both a companion piece to these exhibits and an extension of them. Static shots of his photos alternate with footage of Kiarostami’s car winding through mountain roads, as the Iranian filmmaker muses in voice-over on the significance of the journey and on the path of his work and Persian literature as a whole. Read More »

Abbas Kiarostami – Nema-ye Nazdik AKA Close-Up (1990)


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.” Read More »