Born On This Day – June 22, 1940

“People have curiosity, they have intelligence, they have interest in understanding their peers. But producers and directors of cinema have decided that the seats in the theaters have been made to transform people’s minds to lazy minds. As soon as they enter a theater they must become moron consumers who must be fed information. Those same people, when they leave the theater, when they look behind the curtains they are curious about their neighbors, they can guess if their neighbors are siblings or a couple, how old they are, what their occupation is. They are curious about each other and … Continue reading Born On This Day – June 22, 1940

In Their Words – Saturday, May 11, 2013

“When I’m in the process of making a movie I’m not thinking about the finished result, and whether people have to see it once or more than once, and what the reaction to it will be. I just make it, and then I live with the consequences, some of which may not be as pleasant as I’d like! I know one thing, however. Many viewers may come out of the theater not satisfied, but they won’t be able to forget the movie. I know they’ll be talking about it during their next dinner. I want them to be a little … Continue reading In Their Words – Saturday, May 11, 2013

LIKE SOMEONE IN LOVE

Like Someone In Love - Poster

Abbas Kiarostami is an Iranian filmmaker who has been working quite prolifically since the early 1970s. Up to 2008 all of his films took place in Iran, and walked a neo-realist line. Since then he has left his native country and made two films, Certified Copy and Like Someone in Love. Certified Copy was set in Tuscany, Italy and was in Italian, French, and English. Like Someone in Love is set in Japan and is entirely in Japanese. Kiarostami is a first-rate auteur, and all of his movies, Persian or not, are immediately recognizable. If I were to use any one word to describe his work, it would be patience. Not on the part of Kiarostami and his cast and crew, but on the part of the viewer. It takes some getting used to before one can properly dive into a Kiarostami story. His camera placement is precise, the editing is routine, deep focus and misc-en-scene allowing the eye to wander, all of it void of any flash. Some may describe it as workmanlike or well crafted, but both of these descriptions are mysteriously deceptive. These are descriptions by those who can find no flaws in the movies, but also find no attachment to them as well. To enjoy a Kiarostami movie, one must find the rhythm that Kiarostami uses and then adapt to that. It’s not going to change, or suddenly speed up, it’s going to stay there, nice and constant, and if you can match that, then it’s like sitting back and enjoying jazz.

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