Abbas Kiarostami was an Iranian filmmaker acclaimed for his deeply humanistic cinema, notable for its innovative narratives that blur the line between fiction and reality. This influential director was renowned for using non-professional actors, improvised dialogue, and documentary-style shooting, contributing to his films’ unique sense of authenticity. Works like the Koker Trilogy and Taste of Cherry are significant illustrations of his distinctive style, focusing on existential themes and displaying a remarkable balance between simplicity and complexity.
Born and raised in Tehran, Kiarostami studied painting at the University of Tehran. His filmmaking journey began at the Institute for Intellectual Development of Children and Young Adults, where he started a film section. Despite the restrictions after the Iranian Revolution, Kiarostami continued making films, developing an innovative style that circumvented censorship while offering subtle critiques of Iranian society. His filmography combines fiction, documentary, and experimental films, reflecting his interest in exploring new narrative forms.
Kiarostami’s cinema centres around humanistic and existential themes, with characters often grappling with questions of identity, mortality, and reality. His minimalistic visual style is notable for its long shots of natural landscapes, using long takes and minimal editing to establish a meditative pace. Iran’s natural and rural landscapes are frequently featured, not merely as backdrops, but as intrinsic elements reflecting his characters’ emotional states and dilemmas.
The Iranian New Wave’s Humanism
Incorporating his passion for poetry into his films, Kiarostami often uses metaphor and allegory to enrich his narratives. This inclusion of symbolic elements provides additional layers of meaning, intertwining with the narrative’s broader themes. His films frequently feature children as central characters, exploring complex issues from their unique perspective, evident in films like Where is the Friend’s Home? and Homework.
One of Kiarostami’s recurring motifs is scenes set within cars, using the confined space to create intimate, dialogue-driven scenes. This approach, as seen in films like Ten and Taste of Cherry, allows for close observation of characters, facilitating an in-depth exploration of their emotions and thoughts. His unconventional storytelling techniques, which include blurring the line between fiction and reality in Close-Up, have elevated the depth and authenticity of his work.
As one of the leading figures of the Iranian New Wave, Kiarostami’s influence extends far beyond Iran, shaping filmmakers worldwide. Internationally acclaimed directors like Michael Haneke, Aki Kaurismäki, and Jafar Panahi have cited his work as a significant influence. Despite the constraints he faced, Kiarostami’s films remain a testament to the power of cinema in exploring and expressing the human condition. His innovative narrative style and thematic depth continue to inspire, cementing his legacy in the annals of global cinema.
Abbas Kiarostami (1940 – 2016)
Calculated Films:
- First Case, Second Case (1979)
- Where Is My Friend’s House? (1987)
- Close-Up (1990)
- Life, And Nothing More (1992)
- Through The Olive Trees (1994)
- Taste of Cherry (1997)
- The Wind Will Carry Us (1999)
- Certified Copy (2010)
- Like Someone In Love (2012)
Similar Filmmakers
Abbas Kiarostami’s Top 10 Films Ranked
1. Close-Up (1990)
Genre: Docudrama, Legal Drama, Docufiction
2. Where Is My Friend’s House (1987)
Genre: Drama
3. Life, and Nothing More (1992)
Genre: Drama, Road Movie
4. Taste of Cherry (1997)
Genre: Drama, Road Movie
5. Through the Olive Trees (1994)
Genre: Drama
6. The Wind Will Carry Us (1999)
Genre: Drama
7. Certified Copy (2010)
Genre: Drama, Romance
8. Ten (2002)
Genre: Drama, Docudrama
9. The Traveler (1974)
Genre: Drama, Coming-of-Age
10. Like Someone In Love (2012)
Genre: Drama
Abbas Kiarostami: The Iranian New Wave Master
Never someone to make his presence known with bombast, Kiarostami slowly became one of the most notable directors of the 20th century with his tender, subtle films. Born on June 22, 1940, in Tehran, Iran, Kiarostami’s early life was marked by a curiosity that extended across multiple realms of expression.
His initial foray into creativity began with painting, studying at the University of Tehran’s School of Fine Arts. But his entry into film, when he joined the Institute for Intellectual Development of Children and Young Adults, opened the doors to his illustrious career.
Kiarostami’s touch was evident From his first short film, Bread and Alley. There was a sensitivity, a quiet understanding of life’s intricacies that spoke volumes. His films weren’t just a series of moving images but a gentle exploration of the human condition.
The 1970s marked the emergence of Kiarostami as a voice that resonated within Iranian cinema and beyond. With films like The Traveler and The Report, he began weaving a tapestry that was uniquely his own, marked by subtlety, complexity, and a refusal to adhere to conventional storytelling.
This period was also significant for developing Kiarostami’s signature style, a blend of fiction and reality, where the line between the two often blurred, engaging the audience in a profound conversation about life itself.
But the true power of Kiarostami’s cinema was in his treatment of ordinary subjects, his ability to turn the mundane into the extraordinary. Whether it was a conversation in a car or the mere act of looking through a window, he imbued everyday moments with a depth of meaning.
His affinity for the open road, for landscapes and nature, wasn’t just a stylistic choice; it was a reflection of his philosophical outlook. Roads in his films were never just roads; they were pathways to understanding, introspection, and exploration of existence.
Though celebrated in their right, the films of this era were mere precursors to the masterpieces that would follow. Kiarostami’s journey was only beginning, and the world of cinema was about to be graced with works that would redefine not just Iranian cinema but the art of filmmaking itself.
The 1980s and 90s were transformative decades for Kiarostami, a period that witnessed the rise of a filmmaker unafraid to question, challenge, and push the boundaries of conventional cinema.
His Koker Trilogy, starting with Where is the Friend’s Home?, continued with And Life Goes On, and culminating with Through the Olive Trees, was the start of his rise in international cinema. It was the perfect Iranian New Wave work, something that spoke to the soul of Iran, its people, and its culture.
Close-Up marked a revolutionary step in his approach, blurring the lines between documentary and fiction. By portraying the real-life story of a man who impersonated a filmmaker, Kiarostami could delve into themes of identity, art, and reality. The film was a meditation, a reflection on cinema’s very nature, and a huge success.
His exploration of existential themes reached a crescendo with Taste of Cherry, a film that resonated on a global scale, winning the prestigious Palme d’Or at Cannes. The story of a man seeking someone to bury him after his suicide was a profound engagement with life, death, and the human condition. Kiarostami’s direction was visceral and contemplative, a journey into the heart of darkness and light.
It took Kiarostami decades to get to this point, but by the turn of the century, he was one of cinema’s great masters, someone whose back catalogue was littered with gems, someone who was celebrated for his ability to transcend cultural or linguistic barriers and create raw visual poetry.
Entering the new millennium, Kiarostami continued to evolve, refusing to be pigeonholed or confined by the expectations often accompanying success. His poetic sensibility found unique expression, and his focus shifted to a broader landscape, no longer focusing just on Iran but instead on the world.
His work outside of Iran, including the mesmerising Certified Copy starring Juliette Binoche, continued his exploration into relationships, identity, and the ephemeral nature of reality. The film was both a departure and a natural progression, illustrating his versatility and courage to venture into unexplored territories.
Abbas Kiarostami’s impact on cinema was not confined to his own works; it was felt through the waves of filmmakers he inspired, the dialogues he started, and the barriers he broke. His influence stretched across continents, reaching directors like Michael Haneke and Jean-Luc Godard, and resonated within the growing Iranian New Wave movement.
In films like Ten, where Kiarostami gave voice to women’s experiences in Iran, or Like Someone in Love, exploring complex relationships in Japan, he continued to push cinematic boundaries. His latter works were characterised by deepening his philosophical explorations, embracing digital technology, and an unyielding pursuit of truth.
But his films were more than a collection of stories and images; they were inquiries into life itself, asking questions long after the screen darkened. Whether pondering existence in The Wind Will Carry Us or dissecting the nuances of connection in Shirin, Kiarostami invited viewers to participate, think, and feel.
When he passed away on July 4, 2016, the world didn’t just lose a filmmaker. His final film, 24 Frames, was a fitting farewell, a meditation on time, art, and life through 24 static images.
From the bustling streets of Tehran to the serene landscapes of Tuscany, his voice echoed with a universality that transcended cultural boundaries. He was not just an Iranian filmmaker; he was a global artist, a beacon of creativity whose work will continue to inspire, challenge, and awaken generations to come.
Most Underrated Film
Abbas Kiarostami’s filmography is littered with gems from his celebrated 90s period to his under-discovered 70s and 80s. However, the film I consider his most underrated venture is his Japanese-based Like Someone in Love, a perfect example of Kiarostami’s later period’s subtle global brilliance.
Kiarostami crafted a delicate and profound narrative set in Tokyo, Japan, and straying from his Iranian roots. The film tells the story of a young escort, Akiko, and her relationship with an elderly client, Takashi, a retired professor. The plot itself, however, is merely a conduit for a deeper exploration of human connection, misunderstanding, and the myriad faces we wear.
Like Someone in Love doesn’t shout; it whispers. Its beauty lies in its restraint and understanding of silence and the unspoken. The film’s visuals are bathed in soft, enchanting light, and the bustling city of Tokyo becomes a character in itself, reflecting the isolation and complexity of human emotions.
Kiarostami’s direction is enigmatic, leaving spaces for the audience to inhabit and ponder. The characters are drawn with a subtlety that avoids stereotypes, and their motives and feelings are left intriguingly ambiguous. In Takashi’s gentle demeanour and Akiko’s hidden vulnerability, Kiarostami explores themes of loneliness, love, and the masks people wear. The title, borrowed from a jazz standard, echoes the film’s tone, a tender melody that lingers.
Though some critics found the film’s pacing and ambiguity challenging, others lauded its poetic grace and intellectual depth. Like Someone in Love requires patience and an openness to its meditative quality, it’s a film that invites reflection rather than passive consumption.
Abbas Kiarostami: Themes & Styles
Themes:
- Humanism and Compassion: Kiarostami’s films, such as Close-Up and Taste of Cherry, often explore the depths of human emotion and the complexities of moral dilemmas, emphasising empathy and understanding towards his characters.
- The Nature of Reality and Perception: He frequently blurs the lines between fiction and reality, challenging viewers to question the authenticity of what they see, as masterfully done in Close-Up, where a real-life event is recreated with the actual people involved.
- The Simplicity of Life: Many of his works, like Where Is the Friend’s Home?, focus on the minutiae of everyday life, suggesting that beauty and profound lessons are found in the simplest acts and interactions.
- Children and Innocence: Kiarostami often tells stories through the eyes of children, as in The White Balloon, to convey a sense of purity and to offer a fresh perspective on the world’s complexities.
Styles:
- Minimalist Cinematography: His visual style is marked by simplicity, utilising natural light and long takes, as seen in Taste of Cherry, to immerse viewers in the film’s environment and the characters’ experiences.
- Non-Professional Actors: Kiarostami frequently casts non-actors, believing they bring an authenticity to their roles that trained actors might not, as evident in The Wind Will Carry Us.
- Documentary-Like Narratives: His films often possess a documentary feel, using handheld cameras and shooting on location, which lends a sense of immediacy and realism to the narrative.
- Conversational Dialogue: Dialogues in Kiarostami’s films, such as in Through the Olive Trees, are often natural and improvised, contributing to the authenticity and relatability of the characters.
Directorial Signature:
- Breaking the Fourth Wall: Kiarostami occasionally has his characters break the fourth wall, acknowledging the presence of the audience, which invites viewers to participate in the storytelling process.
- Metafilmic Elements: He includes elements that draw attention to the filmmaking process itself, as in Close-Up, thereby creating a dialogue between the film’s narrative and the art of filmmaking.
- Endings That Linger: His films often conclude with open endings, as in Taste of Cherry, which encourages audiences to contemplate the narrative and its themes long after the film has ended.
- Interrogation of Truth: Kiarostami’s directorial approach often involves questioning the nature of truth and the reliability of cinematic representation, compelling viewers to engage critically with the film and their perceptions.
Further Reading
Books:
- The Cinema of Abbas Kiarostami by Alberto Elena – An insightful examination of Kiarostami’s career, style, and themes.
- Abbas Kiarostami: Expanded Second Edition by Mehrnaz Saeed-Vafa and Jonathan Rosenbaum – This book covers various aspects of Kiarostami’s work, including an interview with the director himself.
- Close Up: Iranian Cinema, Past, Present, and Future by Hamid Dabashi – Offers a broader perspective on Iranian cinema, including discussions of Kiarostami’s contributions.
Articles and Essays:
- What Makes Kiarostami a Modern Master? by Ben Kenigsberg, New York Times
- With Borrowed Eyes: Abbas Kiarostami by David Sterritt, Film Comment
- Abbas Kiarostami: the art of visualising life’s most complicated questions by Ollie Dixon, Hero Magazine
- Fiction Criticizing Reality: Abbas Kiarostami and the Cracked Windshield of Cinema by James Blake Ewing, Cinej Cinema Journal
Documentaries:
- 76 Minutes and 15 Seconds with Abbas Kiarostami (2016) – A documentary by photographer Seifollah Samadian, offering an intimate look at Kiarostami’s life and creative process.
- Abbas Kiarostami: The Art of Living (2003) – A documentary that provides insights into his work and philosophy.
Abbas Kiarostami: The 27th Greatest Director
Bronze Screen Dream 