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.


CLOSE-UP
NEMA-YE NAZDIK
1990, Janus Films, 98 min, Iran, Dir: Abbas Kiarostami

Internationally revered Iranian filmmaker Abbas Kiarostami has created some of the most inventive and transcendent cinema of the past 30 years, and this may be his most radical and brilliant work. This fiction-documentary hybrid uses a sensational real-life event - the arrest of a young man on charges that he impersonated the well-known filmmaker Mohsen Makhmalbaf - as the basis for a stunning, multilayered investigation into movies, identity, artistic creation and existence, in which the real people from the case play themselves. With its universal themes and fascinating narrative knots, CLOSE-UP has resonated with viewers around the world.


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.


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