Abbas Kiarostami's Cinema of Life

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Julian Rice. Abbas Kiarostami's Cinema of Life

Acknowledgments

The Seeds of War

Notes

Kiarostami and Religion

Notes

Saving the World

Notes

War as Suicide

Notes

Obscuring the Soul

Notes

Prefer the Present

Notes

Save the Children

A Mother Grows Up

Notes

Dream a Little

Notes

The Manly Game

Notes

The Soul of Art

Notes

It’s a Jungle Out There

Notes

Further Reading

Geoff Andrew

Godfrey Cheshire

Jonathan Rosenbaum

Index

About the Author

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Chapter 1

At a time when the world is lapsing into varied forms of national fervor and environmental neglect, no artist has more to tell us about the insanity of war and the value of the natural world than the late Iranian filmmaker Abbas Kiarostami. And yet in Sight & Sound’s 2012 poll of the top 250 films of all time, only Close-Up (1990) was included, at number 42.[1] A great deal has been written about Kiarostami since the end of the 1990s, when he was acclaimed as the person of the decade by Film Comment. In its poll of 124 critics, scholars, filmmakers, and distributors, such luminaries as Geoff Andrew, Michel Ciment, Adrian Martin, Laura Mulvey, Bernard Tavernier, and Serge Toubiana put Kiarostami at the top of their list. Robin Wood wrote that Kiarostami’s “subtle, complex, oblique art develops further with every film,”[2] and David Bordwell praised Through the Olive Trees (1994) as “deeply moving” and “formally adventurous,” putting Kiarostami on a par with Eisenstein, Ozu, Dreyer, and Renoir: “[Kiarostami seems] to be reinventing the history of the cinema . . . without any postmodernist bad faith—instead, a spontaneous sense of human integrity.”[3]

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24.

Quoted in Jeffries, “Landscapes of the Mind.”

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