films seen
8/32
average score
1.50*
nationality
Iran - 76 years old
status
R.I.P. (1940 - 2016)
more info

The inoffensive

Chacun Son Cinéma

by Theodoros Angelopoulos, Olivier Assayas, Bille August, Jane Campion, Youssef Chahine, Kaige Chen, Michael Cimino, Ethan Coen, Joel Coen, David Cronenberg, Jean-Pierre Dardenne, Luc Dardenne, Manoel de Oliveira, Raymond Depardon, Atom Egoyan, Amos Gitai, Hsiao-hsien Hou, Alejandro G. Iñárritu, Aki Kaurismäki, Abbas Kiarostami, Takeshi Kitano, Andrey Konchalovskiy, Claude Lelouch, Ken Loach, David Lynch, Nanni Moretti, Roman Polanski, Raoul Ruiz, Walter Salles, Elia Suleiman, Ming-liang Tsai, Gus Van Sant, Lars von Trier, Wim Wenders, Kar-Wai Wong, Yimou Zhang
2007 / 100m - France
Comedy, Drama
3.0*/5.0*
Chacun Son Cinéma poster

Dubious filler

Taste of Cherry

by Abbas Kiarostami
Ta'm E Guilass
1997 / 95m - Iran
Drama
2.0*/5.0*
Taste of Cherry poster

Kiarostami Palme d'Or winner. I'm not a big fan of Kiarostami's work, Taste of Cherry is one of the more intriguing projects I've seen from him so far. It's a very calm and deliberate film that gets a little too talkative at times and doesn't quite nail its ending, but I did enjoy the overall calming experience.

An Iranian man is driving around in his car, looking for someone who can help him out. He is struggling with life and ponders about killing himself, but he needs someone to bury him if he decides to go through with it. Nobody seems very keen on helping, until he runs into a taxidermist who can use the money to save his own kid.

It's a very interesting premise and the settings lends the film a very pensive, calming atmosphere. Kiarostami doesn't rush things, but the discussions the lead has with the passersby are quite bland, and the ending wasn't quite as thought-provoking as it was obviously intended to be. Fewer dialogues, more tracking shots is what would've made this a better film, but alas.

Plain forgettable

Like Someone in Love

by Abbas Kiarostami
2012 / 109m - Japan
Drama
1.5*/5.0*
Like Someone in Love poster

Close-Up

by Abbas Kiarostami
Nema-ye Nazdik
1990 / 98m - Iran
Documentary, Crime
1.5*/5.0*
Close-Up poster

Poorly shot documentary about a guy who got caught impersonating a famous Iranian film director. The story itself is pretty interesting and definitely worth documenting, but the overly long courtroom scenes and the re-enacted inserts don't really make it all that compelling. Not worthy of all its critical praise.

Big nopes

Venice 70: Future Reloaded

by Hala Abdallah, John Akomfrah, Catherine Breillat, Júlio Bressane, Rama Burshtein, Antonio Capuano, Peter Ho-Sun Chan, Isabel Coixet, Amiel Courtin-Wilson, Claire Denis, Lav Diaz, Amit Dutta, Atom Egoyan, Aleksey Fedorchenko, Frédéric Fonteyne, James Franco, Lluís Galter, Haile Gerima, Aleksey German, Amos Gitai, Sang-soo Hong, Benoît Jacquot, Zhangke Jia, Semih Kaplanoglu, Abbas Kiarostami, Yorgos Lanthimos, Pablo Larraín, Tobias Lindholm, Guido Lombardi, Jazmín López, Samuel Maoz, Pietro Marcello, Brillante Mendoza, Celina Murga, Amir Naderi, Shirin Neshat, Nicolás Pereda, Franco Piavoli, Giuseppe Piccioni, Edgar Reitz, João Pedro Rodrigues, Walter Salles, Paul Schrader, Ulrich Seidl, Luca Severi, Sion Sono, Jean-Marie Straub, Tusi Tamasese, Tariq Teguia, Pablo Trapero, Athina Rachel Tsangari, Teresa Villaverde, Bing Wang, Apichatpong Weerasethakul, Andrew Wonder, Yonfan, Krzysztof Zanussi, Karim Aïnouz, Bernardo Bertolucci, Jan Cvitkovic, Davide Ferrario, Monte Hellman, Marlen Khutsiev, Milcho Manchevski, Franco Maresco, Salvatore Mereu, Ermanno Olmi, Michele Placido, Todd Solondz, Shekhar Kapur, Heeraz Marfatia, Ki-duk Kim, Shinya Tsukamoto
2013 / 120m - USA
Documentary
1.0*/5.0*
Venice 70: Future Reloaded poster

Ten

by Abbas Kiarostami
Dah
2002 / 94m - Iran
Drama
1.0*/5.0*
Ten poster

Kiarostami will test your patience, so this will be a pretty big hit-or-miss film for most. The documentary-like approach isn't new for him, but this is by far the most static, ugliest-looking film he's ever made. It all depends on whether you consider the characters interesting enough. For me that was a definite 'no'.

The film offers 10 scenes in a car. A mother is driving around with various people, Kiarostami documents their conversations. There are only two camera angles. One is looking at the driver, the other at the passenger. The underlying narrative outlines the position of women in a society dominated by men.

One thing that generally bugs me about Middle-Eastern films is the noisiness of the characters. The first scene has two people shouting for 10 minutes, where half the conversation is one person asking the other not to shout. The rest of the fragments didn't really do it for me either. The concept is interesting, the execution terrible.

Lumière and Company

by Theodoros Angelopoulos, Vicente Aranda, John Boorman, Youssef Chahine, Alain Corneau, Costa-Gavras, Raymond Depardon, Francis Girod, Peter Greenaway, Lasse Hallström, Hugh Hudson, Gaston Kaboré, Abbas Kiarostami, Cédric Klapisch, Andrey Konchalovskiy, Spike Lee, Claude Lelouch, Bigas Luna, Sarah Moon, Arthur Penn, Lucian Pintilie, Helma Sanders-Brahms, Jerry Schatzberg, Nadine Trintignant, Fernando Trueba, Liv Ullmann, Jaco van Dormael, Régis Wargnier, Wim Wenders, Yoshishige Yoshida, Yimou Zhang, Merzak Allouache, Gabriel Axel, Michael Haneke, James Ivory, Patrice Leconte, David Lynch, Ismail Merchant, Claude Miller, Idrissa Ouedraogo, Jacques Rivette
Lumière et Compagnie
1995 / 88m - France
Drama
1.0*/5.0*
Lumière and Company poster

Where Is the Friend's House?

by Abbas Kiarostami
Khane-ye Doust Kodjast?
1987 / 83m - Iran
Drama
1.0*/5.0*
Where Is the Friend's House? poster

My least favorite Kiarostami so far. I generally don't care much about films with very young kids, so I didn't really appreciate the charm this film was obviously gunning for. There isn't really all that much beyond that either, though the film is pretty short it's also quite slow and uneventful.

Ahmed is 8. When he comes home from school, he noticed that he took a classmate's notebook with him. Ahmed feels bad about the situation, but the boy lives in a neighboring village, too far to go by himself. That doesn't stop him from undertaking a journey to get the notebook to his rightful owner.

I didn't care much for the boy's performance, the people he meets on the road aren't very interesting either and Kiarostami's styling has never been something I've cared for. The film is noisy, characters are pretty irritating and the Ahmed's journey is too uneventful. Not my kind of film.