Abbas Kiarostami's films--Close-Up, Life and Nothing More, Through the Olive Trees, Taste of Cherry (winner of the 1997 Palme d'Or at Cannes), and Ten--have taken their place alongside the masterworks of world cinema. Yet Kiarostami, the most influential filmmaker of post-revolutionary Iran, has produced a body of work that is as rooted in contemporary Iran as it is universal in appeal. Respected cinema historian Alberto Elena has used Iranian sources wherever possible and sought to frame Kiarostami's oeuvre within the context of the rich artistic and intellectual Persian tradition that has nourished the director. He examines his blending of fiction and reality, and his recurring themes of death, meaning in life, isolation, solidarity and the lives of women. Kiarostami's career, from his early days as an illustrator and graphic designer to his current master-status, is also explored.
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"Film begins with D.W. Griffith and ends with Abbas Kiarostami."--Jean-Luc Godard
"Kiarostami will find a quiet place and listen to a man's heart, right up until it stops beating. And then he will listen some more."--Time
"Words cannot describe my feelings about his films... When Satyajit Ray passed on, I was very depressed. But after seeing Kiarostami's films I thanked God for giving us just the right person to take his place."--Akira Kurosawa
"Kiarostami will find a quiet place and listen to a man's heart, right up until it stops beating. And then he will listen some more."--Time
"Words cannot describe my feelings about his films... When Satyajit Ray passed on, I was very depressed. But after seeing Kiarostami's films I thanked God for giving us just the right person to take his place."--Akira Kurosawa
Book Description
Abbas Kiarostami's films--Close-Up, Life and Nothing More, Through the Olive Trees, Taste of Cherry (winner of the 1997 Palme d'Or at Cannes), and Ten--have taken their place alongside the masterworks of world cinema. Yet Kiarostami, the most influential filmmaker of post-revolutionary Iran, has produced a body of work that is as rooted in contemporary Iran as it is universal in appeal. Respected cinema historian Alberto Elena has used Iranian sources wherever possible and sought to frame Kiarostami's oeuvre within the context of the rich artistic and intellectual Persian tradition that has nourished the director. He examines his blending of fiction and reality, and his recurring themes of death, meaning in life, isolation, solidarity and the lives of women. Kiarostami's career, from his early days as an illustrator and graphic designer to his current master-status, is also explored.
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