Reposting in honor of the life of one of the medium’s greatest masters. The legacy of Kiarostami lives on.
(Dir. Abbas Kiarostami, Iran, 1997)
A Reason to Live
In the past I’ve written extensively on the distinctive traits of Abbas Kiarostami’s wholly unique aesthetic in the world of cinema. Sure, he has his influences – Roberto Rossellini, Satyajit Ray, poet Forough Farrokhzad’s only, yet hugely influential short film The House Is Black – and yet there are no other films – past or present – quite like his. And, though there are styles, trademarks, and recurring motifs throughout each of his works, there is also one unifying theme that ties each of his greatest films – especially from his classic ‘90s period – together, one that says something perhaps more about Kiarostami the person than Kiarostami the filmmaker. Without a doubt, the man wholeheartedly cherishes life. His films may not be as obviously sentimental as the usual middlebrow schlock that gets American filmgoers teary-eyed come Oscar season, but there’s…
View original post 1,504 more words