THE WIND WILL CARRY US
BAD MA RA KHAHAD BORD
1999, Janus Films, 118 min, Iran/France, Dir: Abbas Kiarostami

Palme d’Or-winning director Abbas Kiarostami’s acclaimed film documents the arrival of an engineer and his colleagues from Tehran in a remote village in Iranian Kurdistan. Assumed by the locals with whom they form an ambivalent relationship to be archaeologists or telecom engineers, the visitors’ behavior and keen interest in the health of an ailing old woman appear strange and their true motives are shrouded in mystery. Visually stunning, THE WIND WILL CARRY US is an absorbing meditation on life and death and the divisions between tradition and modernity; it stands among Kiarostami's best.


TEN
DAH
2002, Janus Films, 94 min, Iran/France, Dir: Abbas Kiarostami

A feminine response to the male-dominated TASTE OF CHERRY, this deceptively simple drama features Mania Akbari as a woman who drives through the streets of Tehran over a period of several days, having 10 conversations with various passengers in a space both private and public. As Kiarostami's “dashboard-cam” eavesdrops on these lively, heart-wrenching road trips, a complex portrait of contemporary Iran comes sharply into focus. “In addition to being perhaps the most internationally admired Iranian filmmaker of the past decade, [Kiarostami] is also among the world masters of automotive cinema. ... He understands the automobile as a place of reflection, observation and, above all, talk.” - A.O. Scott, The New York Times.


LIKE SOMEONE IN LOVE
2012, IFC Films, 109 min, Japan/France, Dir: Abbas Kiarostami

In this spare, haunting drama, an old man (Tadashi Okuno) and a young woman (Rin Takashi) meet in Tokyo. She knows nothing about him, he thinks he knows her. He welcomes her into his home, she offers him her body. But the web that is woven between them in the space of 24 hours goes way beyond that of a part-time call girl and a grandfatherly client. “It’s a thing of beauty with a heart of darkness; the surfaces have never been so alluring, so enticing, so literally lovely. Yet the world [Kiarostami] depicts is one of surveillance and fear, coercion and rejection, pain and renunciation, danger and violence.” – Richard Brody, The New Yorker.


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