Abbas Kiarostami

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paulofilmo
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Re: Abbas Kiarostami

Post by paulofilmo »

dardan wrote:as a viewer you can tell through the smallest things: the length with which he stays on someones face, the pauses, the way in which he overlays or builds things upon previous footage.


ok cool - I like how you''ve linked the sort of lasagna layers of truth and artifice with the form. I guess I wasn't sensitive enough to it while watching.


This is a lot to take in right now. I'll have to revisit on the weekend. (thank you both for your time x)

paulofilmo
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Re: Abbas Kiarostami

Post by paulofilmo »

dardan wrote:In Close-Up, the persona Sabzian constructed for himself is abstracted to a ridiculous degree by Kiarostami. Any good film makes use of such abstraction, because it by implication creates another level on which the film can operate. The very best films are able to pretty much have another discussion on that abstracted level or even take it to another level (e.g. The Face of Another). In Close-Up, these facets of Sabzian interacts with other facets of Sabzian, with these facets of Sabzian themselves being retraceable to a ton of other things.


Your post makes sense to me today (was knackered yesterday). ^This. I'm not sure what to say about it, but \I wanted to highlight it for future reference/consideration when watching Through the Olive Trees (soon), along with your review. Cheers.

The style seems so earnest and naive (Kiarostami). It's hard for me to shake off that impression and consider his films in other .. lights.

[I watched Life and Nothing More... a couple of years ago, but can't remember it at all, which is awkward when I see the Tier 9/10 ratings my Kumpels have given the film.]

paulofilmo
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Re: Abbas Kiarostami

Post by paulofilmo »

I just watched and enjoyed Through the Olive Trees, although I should have rewatched the second film in the trilogy first.

And Dardan, I understand what you mean now about how AK gradually sets things up and then explores these community relationships.

I'm now looking forward to more Kiarostami - there's a sensitivity, a humanism, in the form. It's in the script as well, but you could replace the dialogue with glances.

I don't know how I feel, really. Makes me want to travel.

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