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Abbas Kiarostami - Five / Dedicated to Ozu (2003)

In , Kiarostami spoke to Jean-Michel Frodon, of Le Monde , about what he learned from one of his own films: Another lesson is that lots of people like dictatorship: in the interviews, the parents of the students were all on the side of the authorities. Recommended Stories.

The Poetry of Cinema: Abbas Kiarostami in Conversation with Richard Peña () - IMDb

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Quotes [ edit ] To be international, you have to first be local. When you take a tree that is rooted in the ground, and transfer it from one place to another, the tree will no longer bear fruit.

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And if it does, the fruit will not be as good as it was in its original place. This is a rule of nature.

I think if I had left my country, I would be the same as the tree. A tree doesn't feel a duty to start doing something about the earth from which it comes. A tree just has to bear fruit, and leaves and blossoms.

Critic’s Choice: Master Iranian filmmaker Abbas Kiarostami gets a ‘Close-Up’

It doesn't feel grateful to the earth. I wanted to show something, I wanted for them to make their own story from what they were seeing. He turns to film to validate his painful isolation, giving him a lens with which to see that others empathize with his anguish. While Sabzian is meek and kind-hearted, he is simultaneously a con-artist — a man whose infatuation with the art form of film takes him down the path of deception and near self-destruction.

In this way, Kiarostami is given the chance to corner the viewer and force us to question whether Close-Up is a work of fiction or a documentary. When asked why he deceived the Ahankhah family, most of his answers revolve around his love for cinema and his desire to make films despite the fact that he has no money to do so.

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Sabzian does what he does in the name of art. By taking on the identity of a filmmaker, Sabzian goes from filmgoer viewer to actor — one who portrays a director. By portraying himself as a director he becomes both orchestrator and player.


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His role as a director is more or less figurative, but in the end he becomes an actor in a most uncanny way. He becomes an actor in a twofold sense: he is an actor in his role as Makhmalbaf, which then turns him into the star of Close-Up. Not only do we have to look at how the movies and art in general can either reveal or deceive, but we have to look at what that says about actual artists.

Abbas Kiarostami

No matter how incredibly profound and beautiful the questions Close-Up poses, everyone is still a tool, everyone is used. The shadow of deceit and exploitation looms large above the narrative, making us wonder what or whom an artist might sacrifice for their work. Sabzian steals the identity of Makhmalbaf, using Makhmalbaf as a mechanism for fraud.