Podcasts about kiarostami

What do the little boy in HIT THE ROAD (2021). the dad in CAPTAIN FANTASTIC (2016) and the nearly-hopeless old driver in TASTE OF CHERRY (1997) have in common? Ask actor Bobby Naderi. He and Jordan find the common thread of a nomad lifestyle and a reckless spirit across these three films, as they track the path that led Bobby from Tehran all the way to his latest role in THE BETTER SISTER.Then, Jordan has one quick thing about HONEY DON'T!, Tricia Cooke's follow up to DRIVE AWAY DOLLS.***With Jordan Crucchiola and Bobby Naderi Feeling Seen is hosted by Jordan Crucchiola and is a production Maximum Fun.Need more Feeling Seen? Keep up with the show on Instagram and Bluesky.

Pour accompagner le vrai retour du printemps mais aussi pour célébrer sa carte blanche à la Cinémathèque Française dans le cadre du programme “Parlons cinéma”, nous avons eu le bonheur de mener une discussion tambour dansant avec Patric Chiha.Cinéaste dont la cinéphilie est née dans les vieilles salles de cinéma de la capitale Autrichienne, il se remémore quelques découvertes adolescentes fondamentales (Paris is Burning, les films de Derek Jarman) et égraine avec nous ses obsessions de spectateurs et de cinéastes (ce qui est la même chose) : la fête, les costumes, l'attente, l'hybridation entre documentaire et fiction…Alors enfilez vos plus beaux costumes et laissez vous guider de la Sicile de Rossellini (Voyage en Italie) jusqu'aux confins de la Russie (D'est) avant de rentrer à la maison (Simone Barbès ou la vertu) Nous remercions notre invité Patric Chiha ainsi que Melanie Haoun et Xavier Jamet de la Cinémathèque mais aussi Elodie Imbeau et Pierre Senechal sans qui cet entretien n'aurait pu se faire. Inscrivez-vous à la newsletter en cliquant sur ce lien : https://forms.gle/HgDMoaPyLd6kxCS48 Pour nous soutenir, rendez-vous sur https://www.patreon.com/cinephilesdnt I. PORTRAIT - 4'49 Un corps au cinéma : celui d'Ingrid Bergman dans Voyage en Italie (R. Rossellini, 1954) - 4'49 Des costumes au cinéma : les tenues dans Paris is Burning (J. Livingston, 1990) - 7'24 Un décor ou une lumière au cinéma : Edward II et Blue (Derek Jarman) - 12'44 II. LE CINEMA DANS TOUS SES ETATS - 18'51 Une film à voir la nuit : Sleep (Andy Warhol, 1963) Un film de transe : Passage à l'acte (Martin Arnold, 1993) Un film pour apprendre à attendre - Où est la maison de mon ami (A. Kiarostami, 1987) - 26'44 Un film pour rentrer à la maison - Simone Barbès ou la vertu (M-C Treilhou, 1980) - 30'26 CARTE BLANCHE - 35'36D'Est (Chantal Akerman, 1993) CINEMA & TRANSMISSION - 42'57 Un film pour penser l'amour et la solitude : France (B. Dumont, 2021) Un film pour penser l'hybridation documentaire-fiction : Tous les autres s'appellent Ali (R.W Fassbinder, 1974) - 48'09 REFUGELe rayon vert (E. Rohmer, 1986)Pink Flamingos (J. Waters, 1972) EXTRAITS Extrait de "Deep in Vogue (12'' Video Version)" interprété par Malcolm McLaren & The Bootzilla Orchestra, © 1989 Epic Records, tous droits réservés. Extrait audio tiré de "D'est" (1993), un film de Chantal Akerman. © Chantal Akerman Foundation. Tous droits réservés. CRÉDITSPatreons : un grand merci à Mahaut, Paul et Clara pour leur soutien !Musique : Gabriel RénierGraphisme : Lucie AlvadoCréation & Animation : Phane Montet & Clément Coucoureux

Karaoke, todos juntos, vamos: No eres guapo pero con abrigo bien. Qué look Sean Baker te ha quedado. Librería, peli rara y un café.Molas bastante, licenciado. Síiiiii, ooooh. Eres tendencia. Tu podcast es La Cultureta.Eres la fucking referencia, entérate. Tú planchas con La Cultureeeeeeeeta. Frente al mainstream, tú eres más cine iraní: Asghar Farhadi, Kiarostami. Flaubert, Verdi, Dickens, Frida y Marilyn Gauguin, Kandinsky, Joe Satriani. Tu molas todo. Tu podcast es La Cultureta. Tu running y La Cultureeeeeeeta.Yo digo John Wayne, qué bien. Yo digo Bad Bunny para un poco y pon Schopin. Yo digo Van Gogh, Hitchcock, Woodstock, Pollock, Pol Pot. O sea Pol Pot, no. Adelante Shostakovic. Vamos. Dale. Tu podcast es La Cultureta.Cultureeeeeeeeta. Tu podcast es La Cultureta.

Karaoke, todos juntos, vamos: No eres guapo pero con abrigo bien. Qué look Sean Baker te ha quedado. Librería, peli rara y un café.Molas bastante, licenciado. Síiiiii, ooooh. Eres tendencia. Tu podcast es La Cultureta.Eres la fucking referencia, entérate. Tú planchas con La Cultureeeeeeeeta. Frente al mainstream, tú eres más cine iraní: Asghar Farhadi, Kiarostami. Flaubert, Verdi, Dickens, Frida y Marilyn Gauguin, Kandinsky, Joe Satriani. Tu molas todo. Tu podcast es La Cultureta. Tu running y La Cultureeeeeeeta.Yo digo John Wayne, qué bien. Yo digo Bad Bunny para un poco y pon Schopin. Yo digo Van Gogh, Hitchcock, Woodstock, Pollock, Pol Pot. O sea Pol Pot, no. Adelante Shostakovic. Vamos. Dale. Tu podcast es La Cultureta.Cultureeeeeeeeta. Tu podcast es La Cultureta.

Karaoke, todos juntos, vamos: No eres guapo pero con abrigo bien. Qué look Sean Baker te ha quedado. Librería, peli rara y un café.Molas bastante, licenciado. Síiiiii, ooooh. Eres tendencia. Tu podcast es La Cultureta.Eres la fucking referencia, entérate. Tú planchas con La Cultureeeeeeeeta. Frente al mainstream, tú eres más cine iraní: Asghar Farhadi, Kiarostami. Flaubert, Verdi, Dickens, Frida y Marilyn Gauguin, Kandinsky, Joe Satriani. Tu molas todo. Tu podcast es La Cultureta. Tu running y La Cultureeeeeeeta.Yo digo John Wayne, qué bien. Yo digo Bad Bunny para un poco y pon Schopin. Yo digo Van Gogh, Hitchcock, Woodstock, Pollock, Pol Pot. O sea Pol Pot, no. Adelante Shostakovic. Vamos. Dale. Tu podcast es La Cultureta.Cultureeeeeeeeta. Tu podcast es La Cultureta.

Way back when the show relaunched in 2020, we had planned on covering Abbas Kiarostami's Palme d'Or winning Taste of Cherry but I was overruled by my then cohosts who, at the time, were not terribly taken with the film. Now almost five years later, I'm excited to return to it with an even greater appreciation of it. I'm also delighted to be joined on this episode by my internet friend, film historian, critic, and podcaster Marta Djordjevic. Her former podcast, McFly's Movie House, is a treasure trove of insights and appreciation for cinema and a great way to build your watchlist. She's also a huge Kiarostami fan, with Taste of Cherry being one of her favorite films. **In this episode we do cover the topic of suicide, if you didn't watch or look up the movie**We also talk about the three arguments against it that the film depicts: community, morality, and beauty, we look at Kiarostami's career arc and personal style, why sometimes stories with harsh or challenging content can become comfort viewing for some, and more!Tune in next week for a back to back Substantive Cinema with Canadian ladies in the film world when actress Romina D'Ugo joins us to talk about her recent film I Like Movies.⁠⁠Substantive Cinema Episode ListShoutoutsNTS RadioHaruFollow MartaWebsiteInstagramLetterboxdSubstackFollow Us⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠Philip's Letterboxd⁠⁠⁠⁠Share Your Questions/Suggestions/Feedback With Us:Email: thesubstancepod@gmail.comDM on InstagramSupport Us: Support the show with an individual donation on CashApp to $TheSubstancePod or become a monthly Patreon supporter at patreon.com/TheSubstancePod

Gabriele Pedullà"Il trascendente nel cinema"Paul SchraderMarietti1820www.mariettieditore.itLa domanda che sta all'origine di questo libro è molto semplice: in che modo è possibile (ammesso che lo sia) portare sullo schermo il completamente altro, il divino? A distanza di oltre mezzo secolo dalla sua prima pubblicazione, l'acclamato regista e sceneggiatore Paul Schrader rivisita e aggiorna la sua riflessione sul cinema lento degli ultimi cinquant'anni. L'analisi dello stile cinematografico di tre grandi registi – Yasujirō Ozu, Robert Bresson e Carl Dreyer – si arricchisce di un nuovo quadro teorico, offerto dal pensiero di Gilles Deleuze sul cinema e sulla fenomenologia della percezione attraverso il tempo, espandendo la teoria alle opere, tra gli altri, di Andrej Tarkovskij e Béla Tarr. Con una prosa chiara, l'autore insegna a lettori e spettatori a guardare con occhi nuovi alla cinematografia d'autore, in un'opera che - come sostiene Gabriele Pedullà - non è soltanto «un acuto studio critico» dei capolavori del passato, ma un vero e proprio «manifesto per un cinema diverso»: «un grande classico che continua a tracciare strade, aprire porte, scavare gallerie, costruire ponti che aiutano tutti a pensare più liberamente».Prefazione "Il trascendente nel cinema" a cura di Gabriele Pedullà.Paul Schrader (Grand Rapids - Michigan 1946), critico cinematografico, sceneggiatore di capolavori come Taxi Driver, Toro scatenato e L'ultima tentazione di Cristo, ha diretto film indimenticabili come American Gigolò e First Reformed. Ritenuto uno dei protagonisti della New Hollywood, nel 2022 ha ricevuto il Leone d'oro alla carriera. Il 16 gennaio 2025 è uscito nei cinema italiani il film da lui scritto e diretto Oh Canada - I tradimenti, con Uma Thurman e Richard Gere.Gabriele Pedullà (Roma 1972) insegna Letteratura italiana presso l'università di Roma Tre e scrive per «Il Sole 24 Ore». Autore di diversi libri di saggistica, tra cui il recente On Niccolò Machiavelli: The Bonds of Politics (Columbia University Press, 2023, in corso di traduzione per Einaudi), con Sergio Luzzatto ha curato l'Atlante della letteratura italiana (Einaudi 2010-12). Presso Einaudi ha inoltre pubblicato le raccolte di racconti Lo spagnolo senza sforzo (2009, Premio Mondello Opera Prima; Premio Verga; Premio Frontino), Biscotti della fortuna (2020, Premio Super Flaiano) e Certe sere Pablo (2024), e il romanzo Lame (2017, Premio Carlo Levi; Premio Martoglio). Le sue opere sono tradotte, o in corso di traduzione, in otto lingue.IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

On this episode of Cinema Dual, Jon and Chris dive into the works of Iranian filmmaker Abbas Kiarostami. Movies Discussed: Certified Copy, Close Up Recommendations : Where is The Friend's House (Jon), And Life Goes On, Through the Olive Trees (Chris)  For more of our movie thoughts, including our series on the films of Akira Kurosawa, you can check them out at www.cinemadual.com.  Cinema Duals' Mountain of Gloriousness The Films of Cinema Dual Follow us on Blue Sky: @joncinemadual @belownirvana Follow us on Spotify: Cinema Dual

Abbas Kiarostami is a man who understands the intimacy of a conversation in the front seat of a car. While Taste of Cherry (1997), which we watch way back at Spine 45 is the pinnacle of that truth, Certified Copy (2010) has plenty of driving and talking before it settles into sight seeing and talking. To keep things interesting, Certified Copy is a sort of surrealist drama, with the relationship between the two parties in this extended conversation in a slow flux, from strangers to estranged spouses in the course of an afternoon. Also on the Criterion disc is an early Kiarostami work, The Report (1977), also dealing with a couple becoming estranged, but this time against the backdrop of bureaucratic corruption in pre-revolution Iran. We talk about both films this week, as well as the nature of communication both within the films and to us as viewers when we're dealing with subtitle tracks that aren't great.

A primeira longa metragem de Denise Fernandes valeu à realizadora cabo-verdiana o prémio de melhor cineasta emergente no Festival de cinema de Locarno que terminou a 17 de Agosto. "Hanami" tem como palco a Ilha do Fogo, no sotavento cabo-verdiano, onde Nana assiste à partida, mas também ao regresso de muitos habitantes do território, caso da sua mãe. A cineasta, nascida em Lisboa, crescida na Suíça de expressão italiana, volta a pegar em Cabo Verde, as suas raízes, para este novo filme, "Hanami", a sua primeira longa metragem.Ela começou por comentar à RFI qual a sua reacção com o galardão obtido na edição de 2024 do Festival de cinema de Locarno, na Suíça.Recebi a notícia por telefone alguns dias antes do festival terminar, mas disseram-me para não dizer mesmo a ninguém. E eu ainda estava com as actrizes do filme presentes em Locarno. Então, sabendo que eu não podia dizer a ninguém também, é quase como se não tivesse nenhuma reacção. E senti que o acontecimento se concretizou dois dias depois, quando foi possível fazer essa partilha de informação. E então, junto com as pessoas da equipa e com as actrizes, vivemos esse momento de felicidade que esperamos que vá dar alguma visibilidade ao filme em si. Então, já falou das actrizes. Poderíamos falar, por exemplo, de uma delas, que é a Sanaya Andrade. Como é que você escolheu este elenco? Foi um processo muito, muito longo. Eu comecei a viajar ao Fogo a partir de 2016 de forma regular, durante a escrita do filme. E em 2021, fiz uma primeira viagem com duas pessoas da equipa que foi uma área de "repérage" [reconhecimento] e nessa "repérage" conheci uma menina de cinco anos que afinal é a Nana, criança que aparece no filme, é a Daílma Mendes. E em 2023, quando o filme entrou quase em pré-produção, fizemos mesmo os "castings" oficiais do filme e confirmei a Daílma Mendes como Nana criança. E então a minha equipa, a directora do casting local e a minha assistente de realização foram mesmo visitar todas, todas, todas as escolas de toda a ilha para encontrar um "match" com a Nana, criança que de alguma forma já tinha escolhido. E a Sanaya foi uma dessas pessoas e afinal foi a pessoa que foi escolhida para o papel de Nana adolescente. Já referiu que de facto, a intriga ocorre nesta ilha do Sotavento cabo-verdiano, que é a Ilha do Fogo. É uma história de partidas, de regressos e daqueles que teimosamente ficam na ilha, não é? Sim, acho que essas dinâmicas são dinâmicas, que são a essência, acho de ser uma pessoa cabo verdiana. Mesmo que seja uma pessoa cabo-verdiana que vive na ilha ou uma pessoa da diáspora cabo-verdiana. Esses movimentos nos acompanham muito durante a nossa vida. Que seja uma pessoa que nos visita, uma pessoa que nunca conhecemos antes, um tio, uma prima, seja pessoas que ficam na ilha e que quando ligam por telefone sonham, quase idealizam o mundo fora. E depois há pessoas da diáspora que sonham de voltar e alguns voltam e alguns não voltam. Porque, de alguma forma, o Ocidente torna-se a nova casa. Então o filme fala também desses movimentos e dessas dinâmicas. Já referiu que foi um processo longo e ia-lhe perguntar como é que foi precisamente a escrita deste guião ? Eu sei que a senhora, embora tenha nascido na diáspora, precisamente no caso em Portugal e depois radicou-se na Suíça. A senhora a dada altura, ficava incomodada com a invisibilidade de Cabo Verde no mundo. Por ser um país pequenino, por ser um país arquipélagico que, muitas vezes, as pessoas nem sequer sabiam situar no mapa. Então fazia questão, de facto, em que a sua primeira longa metragem tivesse foco precisamente nesta terra, no Oceano Atlântico e, no caso, esta terra vulcânica !?Digamos que eu acho que a infância é o ponto de partida do trabalho de muitos artistas, e de forma consciente ou inconsciente. E eu lembro-me de criança na Suíça. Cresci na Suíça, naquela altura, nos anos 90 Cabo Verde era muito, muito desconhecido. E, na verdade, ainda hoje, viajando pela Europa, dependendo um pouco das culturas e dos países, é um país que não é conhecido e eu sempre a nível verbalmente, tenho sempre muito prazer em abrir o Google Maps e é mostrar às pessoas onde é e contar coisas sobre Cabo Verde. Mas lembro-me de, quando era pequena, confrontar-me com as reacções de quem não conhecia e também como ainda se utilizavam mapas e globos para ver o mundo. Lembro-me de que muitas vezes essas ilhas eram... Eu estava a ver o Oceano Atlântico à procura de Cabo Verde, porque Cabo Verde mesmo não estava presente ! Para mim é uma metáfora de uma pequena invisibilidade, mas que não só tem a ver com Cabo Verde. Acho que muitas ilhas do mundo pequeninas sofrem um bocadinho de um olhar que é um bocadinho imposto pelo turismo. Um olhar que muitas vezes vem de fora e não de dentro. E quando surgiu a vontade minha de fazer uma longa para mim, foi muito claro que ia ser filmada em Cabo Verde. Já agora, conviria que recapitulássemos um pouco da sua trajectória. Eu dizia que já tinha ligação ao Festival de Locarno porque já em 2011 teve lá uma curta metragem, depois "Pão sem Marmelada" e "Idillyum". Foram projectos feitos em Cuba, aquando dos seus estudos nessa ilha das Caraíbas. Mas houve, logo a seguir, um projecto precisamente já sobre Cabo Verde, que foi o "Nha Mila", foi em 2020. Quer-nos fazer um pouco o fio condutor da sua trajectória? Sim, tudo começou: comecei a filmar na Suíça porque é onde eu cresci e onde fiz a minha primeira formação.A Suíça de expressão italiana, não é? Daí o "Buona Notte", por exemplo ?Exactamente, eu sou da Suíça italiana. E então os meus primeiros trabalhos foram filmados na Suíça italiana. Depois eu estudei em Cuba, fiz mestrado em Cuba. Então os trabalhos seguintes foram feitos em Cuba. E depois, quando eu voltei à Suíça de Cuba, fiquei assim com uma espécie de "E agora?"... Então, na verdade é interessante porque existe uma espécie de "gap" [fosso] de sete anos entre o meu último trabalho de Cuba até 2020, que é a curta "Nha Milla", que foi filmada em Lisboa, e é sobre uma escala. Uma mulher que faz uma escala, uma mulher cabo-verdiana que faz uma escala em Lisboa. E ao chegar a Lisboa encontra outras cabo-verdianas. E, pronto, são trajectórias que acabam por se cruzar. Exactamente, de alguma forma, eu própria viajei com os meus filmes porque então, depois de ter estudado em Cuba, vivi noutros países, na Europa. Mas depois, em 2016, decidi mudar-me para Lisboa. E é também a cidade onde nasci... E alguns anos depois nasceu "Nha Mila". Então, na verdade, os meus filmes me conduziram de volta para Portugal, antes, e , depois,  para Cabo Verde. E neste momento, então, reside em Portugal ou na Suíça, ou entre um e outro ?Agora, principalmente em Lisboa. E qual é o percurso que antevê para este filme? Imagino que se pense em estreias, nomeadamente em Cabo Verde. Sei obviamente, que há um festival de cinema importante, precisamente na Ilha do Fogo. Como é que a senhora se projecta em relação à vida deste filme? O filme... estamos a ter o grande privilégio de, depois do Festival de Locarno, vamos apresentar esse filme em outros festivais internacionais. Então, de alguma forma, Locarno é o ponto do início. E depois temos uma grande, grandíssima prioridade, que é também no próximo ano de apresentar o filme na Ilha do Fogo, em Cabo Verde. Ainda não sabemos muito bem em que altura. E, depois dessa estreia em Cabo Verde, acho que paralelamente, talvez ainda o percurso dos festivais poder fazer uma estreia nas salas. Mas como são coisas que mais ligadas à distribuição do filme, deixo um bocadinho à distribuição a palavra.O Som e Fúria, nomeadamente ! A produtora é "O Som e a Fúria". Perguntar-lhe-ia para esta trajectória e chegou-se à sua primeira longa metragem... E é sempre uma referência muito importante na vida de um cineasta: Quais foram as referências que foram importantes para si? Quais são os filmes de que gosta? Quais são os cineastas de que gosta? Eu estou a falar de África ou do mundo em que se revê o que teve peso para si para esboçar a sua carreira? Eu tenho muitas referências. As primeiras, as mais primordiais para mim, são. Tem a ver com a literatura, a literatura grega, os contos clássicos, que sejam os irmãos Grimm, La Fontaine, a mitologia. A arte do conto, para mim, desde criança, me fascinava, mesmo muito. Depois, na adolescência, mais uma vez, a literatura. Eu cresci também com muita literatura italiana e existem obras maravilhosas, Pinóquio e outras. Então, digamos, foi sempre uma pessoa que amou muito o "storytelling" ligado à literatura. E o cinema chegou depois. Os realizadores de que eu gosto muito são Kiarostami [iraniano], Kieslowski [polaco], a Alice Rohrwacher [italiana] e o Diop Mambéty. também. Acho que tenho mesmo referências muito, várias. E em África há assim, algum nome que lhe venha à cabeça ?Para mim o Diop Mambéty [senegalês]: gosto muito de dos seus filmes: o "Touki Bouki", "A Menina que ia à procura do Sol". Eu acho que os seus filmes são fortemente enraizados numa realidade e, ao mesmo tempo, têm uma grande parte de fantasia. Então, digamos que gosto mesmo muito do trabalho dele. Imagino que não seja fácil projectar-se para uma vida no cinema. Devem ser muitas dificuldades, muitas barreiras por ultrapassar. A senhora está determinada agora que já chegou uma longa metragem de facto, de apostar na sétima arte e, se calhar de fazer outros projectos sobre Cabo Verde ou outras latitudes ?O "Hanami" foi uma grandíssima parte da minha vida, mas é verdade que agora que o filme estreou, isto também me vai dar espaço para alguma coisa nova. A primeira longa é sempre para quem cria. É um objectivo muito grande.É um parto difícil !?E agora, para mim, o passo seguinte está tudo em aberto. Eu própria estou curiosa porque ainda não sei exactamente o que vai vir. O tempo o dirá ?!Sim.

durée : 01:27:12 - Les Nuits de France Culture - par : Albane Penaranda - Qu'est-ce qu'un grand cinéaste ? Sans doute celui qui sait filmer l'universel dans la singularité d'un peuple. En 1997, le cinéaste iranien Abbas Kiarostami obtient la Palme d'Or à Cannes pour "Le Goût de la Cerise". L'émission "Ciné-club" lui consacre un numéro la même année. - invités : Abbas Kiarostami Cinéaste

It's Casual Friday! Sam and Emma speak with Jeet Heer, national affairs correspondent for The Nation, to round up the week in news. And then, they're joined by Matthew Film Guy! First, Sam and Emma run through updates on Trump's Georgia case, Menendez's legal woes, Gaetz's Subpoena, Russian elections, Donald Trump, and objections from big tech over labor laws, also parsing through some of the major seats up for grabs in the House and Senate come November. Jeet Heer then joins, as he helps Sam and Emma parse through Sen. Schumer's recent call for new Israeli elections alongside a two-state solution, looking at it in the context of the “uncommitted” movement as a (rather weak) attempt to stay the pressure from the left ahead of the election, despite the genocide raging on. Jeet, Sam, and Emma expand on the electoral conversation, discussing RFK's ballot access problem and VP PR stunt, and the Democrats' continuing failure to mobilize voters for Biden, before wrapping up by assessing Biden's dwindling polling numbers and the absolute absurdity of his new TikTok ban. Matthew Film Guy also joins, tackling his Oscar re-previews, and offering up his suggestion of what to watch this week –– Kiarostami's “Like Someone in Love.” And in the Fun Half: Sam and Emma discuss Bernie's 32-hour workweek bill with some help from Shawn Fain, Tim Scott and Tulsi Gabbard do their best Trump Administration auditions. The MR Crew tackles the likelihood of a Kristi Noam VP, Dave Rubin and Greg Gutfeld celebrating fascism in their own, unique ways, and Ben Shapiro wanting to make you work (and you better be happy about it!). They also tackle the great retail theft myth, plus, your calls and IMs! Check out Jeet's work at The Nation here: https://www.thenation.com/authors/jeet-heer/ Check out Matthew's Letterboxd here: https://letterboxd.com/langdonboom/ Check out Matthew's film discussion group here: https://www.commonpointqueens.org/program/cultural-arts-and-jewish-heritage-classes/ Check out Matthew's eBay auction here! https://www.ebay.com/itm/115464749223 Become a member at JoinTheMajorityReport.com: https://fans.fm/majority/join Check out Seder's Seeds here!: https://www.sedersseeds.com/ ; use coupon code Majority and get 15% off; ALSO, if you have pictures of your Seder's Seeds, send them here!: hello@sedersseeds.com Check out, and share friend of the show Janek Ambros's new documentary for The Nation, "Ukrainians in Exile" here!: https://twitter.com/thenation/status/1760681194382119399?s=20 Check out this GoFundMe in support of Mohammad Aldaghma's niece in Gaza, who has Down Syndrome: http://tinyurl.com/7zb4hujt Check out the "Repair Gaza" campaign courtesy of the Glia Project here: https://www.launchgood.com/campaign/rebuild_gaza_help_repair_and_rebuild_the_lives_and_work_of_our_glia_team#!/ Get emails on the IRS pilot program for tax filing here!: https://service.govdelivery.com/accounts/USIRS/subscriber/new Check out StrikeAid here!; https://strikeaid.com/ Gift a Majority Report subscription here: https://fans.fm/majority/gift Subscribe to the ESVN YouTube channel here: https://www.youtube.com/esvnshow Subscribe to the AMQuickie newsletter here: https://am-quickie.ghost.io/ Join the Majority Report Discord! http://majoritydiscord.com/ Get all your MR merch at our store: https://shop.majorityreportradio.com/ Get the free Majority Report App!: http://majority.fm/app Check out today's sponsors: Nuts.com: Right now, https://Nuts.com is offering new customers a free gift with purchase and free shipping on orders of $29 or more at https://Nuts.com/majority. So, go check out all of the delicious options at https://Nuts.com/majority. You'll receive a free gift and free shipping when you spend $29 or more! Aura Frames: Right now, you can save on the perfect gift that keeps on giving by visiting https://AuraFrames.com. For a limited time, listeners can get 20 dollars off their best-selling frame with code MAJORITY. That's https://AuraFrames.com promo code MAJORITY. Sunset Lake CBD: Sunsetlakecbd is a majority employee owned farm in Vermont, producing 100% pesticide free CBD products. Use code Leftisbest and get 20% off at http://www.sunsetlakecbd.com. Sunset Lake CBD: Follow the Majority Report crew on Twitter: @SamSeder @EmmaVigeland @MattLech @BradKAlsop Check out Matt's show, Left Reckoning, on Youtube, and subscribe on Patreon! https://www.patreon.com/leftreckoning Check out Matt Binder's YouTube channel: https://www.youtube.com/mattbinder Subscribe to Brandon's show The Discourse on Patreon! https://www.patreon.com/ExpandTheDiscourse Check out Ava Raiza's music here! https://avaraiza.bandcamp.com/ The Majority Report with Sam Seder - https://majorityreportradio.com/

There are many ways to make a movie. Only a few of those ways fit within the Hollywood mold. We believe that rather than taking pop culture as their sole model, Catholics and Catholic filmmakers should be open to a wide variety of artistic approaches. Thus, in this episode James and Thomas discuss the early career of the great Iranian director Abbas Kiarostami, who came up with an approach to filmmaking that is not just different from Hollywood, but different from anyone else in world cinema. Kiarostami spent the first two decades of his career working for the Center for the Intellectual Development of Children and Young Adults in Tehran, making a plethora of fascinating movies either for or about children (fiction, documentary, and educational). In addition to exploring his concerns with childhood and education, he developed a great ability to direct non-professional actors and this allowed him to blur the line between documentary and fiction in his later films - or, perhaps, just to be honest about how human behavior is affected by the presence of a camera, even in a documentary setting. If you only watch one of the films discussed in this episode, you might pick his 1987 feature Where Is the Friend's Home?, an beautifully simple story about childhood, friendship and conscience. Through its patient attention to detail, this film allows us to rediscover a child's-eye perspective on the world. Where Is the Friend's Home? is the first in a sort of trilogy of films Kiarostami shot in the region of Koker in northern Iran. That first installment, while one of his best works, is not actually typical of the unique style he developed soon after, which can be seen even within the trilogy itself. The simplicity of the first story is succeeded by two films that take on multiple perspectives and blur the line between fiction and real life. In a word, things get meta. In the second film, …And Life Goes On, the director of the first film (played by an actor, not the real director) and his young son search for the two boys who acted in the first film, after the Koker region was devastated by a real-life earthquake that killed 50,000 people. Investigating real-life events through a fictional road trip, we get a new perspective on the simple fictional perspective of the first movie. The third film, Through the Olive Trees, gets very complex (but in a most entertaining way). While shooting a scene in the second film, Kiarostami noticed some tension between the two young actors playing a married couple. So he invented a love story about these two actors, and the third film is about this story that takes place while that scene from the second film was being shot. Shot, we should add, by a director who is directing scenes involving the character of the “director” from the 2nd film – so we have two different actors playing directors, both of which represent the real director, Kiarostami. As avant-garde as this sounds, it's a highly entertaining story that never could have been done as well by a director hewing to commercial instincts. SIGN UP for Catholic Culture's newsletter: https://www.catholicculture.org/newsletters DONATE to make this show possible! http://catholicculture.org/donate/audio

Having amassed more than 100 episodes in its run, PACCTS' sixth season will focus its sights on “the greatest films of all time” (both in the US and internationally), as assembled by the British Film Institute's 2022 Sight and Sound Poll of industry critics. Corey will be choosing American films from the list, and Paul will be choosing international ones.  Our goal is to examine the films that are considered great, and why that may be the case.   (fanfare) For our hundredth film, Paul chose the film that made Abbas Kiarostami an international star, Where Is the Friend's House? (1987), ranked at number 157. A simple, yet profound, story of an eight-year-old boy trying to return his friend a notebook, Where Is the Friend's House? can only be described as a perfect film. Paul and Corey discuss Kiarostami and his place within the Iranian New Wave and themes of duty, obedience, and love. You simply have to watch this film.

The seventh episode of our season on the awesome movie year of 1987 features our foreign film pick, Abbas Kiarostami's Where Is the Friend's House?. Written and directed by Abbas Kiarostami and starring Babak Ahmadpour, Ahmed Ahmadpour and Khodabaksh Defai, Where Is the Friend's House? is the first movie in Kiarostami's acclaimed Koker trilogy.The contemporary reviews quoted in this episode come from Gemma Files in Eye Weekly, Jonathan Rosenbaum in the Chicago Reader (https://chicagoreader.com/arts-culture/where-is-my-friends-house/), and Dennis Schwartz in Ozus World Movie Reviews (https://dennisschwartzreviews.com/whereismyfriendshouse/).Visit https://www.awesomemovieyear.com for more info about the show.Make sure to like Awesome Movie Year on Facebook at http://www.facebook.com/awesomemovieyear and follow us on Twitter @AwesomemoviepodYou can find Jason online at http://goforjason.com/, on Facebook at https://www.facebook.com/JHarrisComedy/, on Instagram at https://www.instagram.com/jasonharriscomedy/ and on Twitter @JHarrisComedyYou can find Josh online at http://joshbellhateseverything.com/, on Facebook at https://www.facebook.com/joshbellhateseverything/ and on Twitter @signalbleedYou can find our producer David Rosen's Piecing It Together Podcast at https://www.piecingpod.com, on Twitter at @piecingpod and the Popcorn & Puzzle Pieces Facebook Group at https://www.facebook.com/groups/piecingpod.You can also follow us all on Letterboxd to keep up with what we've been watching at goforjason, signalbleed and bydavidrosen.Subscribe on Patreon to support the show and get access to exclusive content from Awesome Movie Year, plus fellow podcasts Piecing It Together and All Rice No Beans, and music by David Rosen: https://www.patreon.com/bydavidrosenAll of the music in the episode is by David Rosen. Find more of his music at https://www.bydavidrosen.comPlease like, share, rate and comment on the show and this episode, and tune in for the next 1987 installment, featuring Jason's personal pick, Rob Reiner's The Princess Bride.

The cinephile community knows Abbas Kiarostami (1940–2016) as one of the most important filmmakers of the previous decades. This volume illustrates why the Iranian filmmaker achieved critical acclaim around the globe and details his many contributions to the art of filmmaking. Kiarostami began his illustrious career in his native Iran in the 1970s, although European and American audiences did not begin to take notice until he released his 1987 feature Where's the Friend's House? His films defy established conventions, placing audiences as active viewers who must make decisions about actions and characters while watching the narratives unfold. He asks viewers to question the genre construct (Close-Up) and challenges them to determine how to watch and imagine a narrative (Ten and Shirin). In recognition for his approach to the craft, Kiarostami was awarded many honors during his lifetime, including the top prize at the Cannes Film Festival in 1997 for Taste of Cherry. In Abbas Kiarostami: Interviews (UP of Mississippi, 2023) ,editor Monika Raesch collects eighteen interviews (several translated into English for the first time), lectures, and other materials that span Kiarostami's career in the film industry. In addition to exploring his expertise, the texts provide insight into his life philosophy. This volume offers a well-rounded picture of the filmmaker through his conversations with journalists, film scholars, critics, students, and audience members. Monika Raesch is associate professor of film studies and video production at Suffolk University. A native of Germany, she is editor of Margarethe von Trotta: Interviews, published by University Press of Mississippi, and author of The Kiarostami Brand: Creation of a Film Auteur. Her work has appeared in such publications as the Journal of Film and Video and Feminist Media Studies. Kaveh Rafie is a PhD candidate specializing in modern and contemporary art at the University of Illinois at Chicago. His dissertation charts the course of modern art in the late Pahlavi Iran (1941-1979) and explores the extent to which the 1953 coup marks the recuperation of modern art as a viable blueprint for cultural globalization in Iran. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

The cinephile community knows Abbas Kiarostami (1940–2016) as one of the most important filmmakers of the previous decades. This volume illustrates why the Iranian filmmaker achieved critical acclaim around the globe and details his many contributions to the art of filmmaking. Kiarostami began his illustrious career in his native Iran in the 1970s, although European and American audiences did not begin to take notice until he released his 1987 feature Where's the Friend's House? His films defy established conventions, placing audiences as active viewers who must make decisions about actions and characters while watching the narratives unfold. He asks viewers to question the genre construct (Close-Up) and challenges them to determine how to watch and imagine a narrative (Ten and Shirin). In recognition for his approach to the craft, Kiarostami was awarded many honors during his lifetime, including the top prize at the Cannes Film Festival in 1997 for Taste of Cherry. In Abbas Kiarostami: Interviews (UP of Mississippi, 2023) ,editor Monika Raesch collects eighteen interviews (several translated into English for the first time), lectures, and other materials that span Kiarostami's career in the film industry. In addition to exploring his expertise, the texts provide insight into his life philosophy. This volume offers a well-rounded picture of the filmmaker through his conversations with journalists, film scholars, critics, students, and audience members. Monika Raesch is associate professor of film studies and video production at Suffolk University. A native of Germany, she is editor of Margarethe von Trotta: Interviews, published by University Press of Mississippi, and author of The Kiarostami Brand: Creation of a Film Auteur. Her work has appeared in such publications as the Journal of Film and Video and Feminist Media Studies. Kaveh Rafie is a PhD candidate specializing in modern and contemporary art at the University of Illinois at Chicago. His dissertation charts the course of modern art in the late Pahlavi Iran (1941-1979) and explores the extent to which the 1953 coup marks the recuperation of modern art as a viable blueprint for cultural globalization in Iran. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

The cinephile community knows Abbas Kiarostami (1940–2016) as one of the most important filmmakers of the previous decades. This volume illustrates why the Iranian filmmaker achieved critical acclaim around the globe and details his many contributions to the art of filmmaking. Kiarostami began his illustrious career in his native Iran in the 1970s, although European and American audiences did not begin to take notice until he released his 1987 feature Where's the Friend's House? His films defy established conventions, placing audiences as active viewers who must make decisions about actions and characters while watching the narratives unfold. He asks viewers to question the genre construct (Close-Up) and challenges them to determine how to watch and imagine a narrative (Ten and Shirin). In recognition for his approach to the craft, Kiarostami was awarded many honors during his lifetime, including the top prize at the Cannes Film Festival in 1997 for Taste of Cherry. In Abbas Kiarostami: Interviews (UP of Mississippi, 2023) ,editor Monika Raesch collects eighteen interviews (several translated into English for the first time), lectures, and other materials that span Kiarostami's career in the film industry. In addition to exploring his expertise, the texts provide insight into his life philosophy. This volume offers a well-rounded picture of the filmmaker through his conversations with journalists, film scholars, critics, students, and audience members. Monika Raesch is associate professor of film studies and video production at Suffolk University. A native of Germany, she is editor of Margarethe von Trotta: Interviews, published by University Press of Mississippi, and author of The Kiarostami Brand: Creation of a Film Auteur. Her work has appeared in such publications as the Journal of Film and Video and Feminist Media Studies. Kaveh Rafie is a PhD candidate specializing in modern and contemporary art at the University of Illinois at Chicago. His dissertation charts the course of modern art in the late Pahlavi Iran (1941-1979) and explores the extent to which the 1953 coup marks the recuperation of modern art as a viable blueprint for cultural globalization in Iran. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/middle-eastern-studies

The cinephile community knows Abbas Kiarostami (1940–2016) as one of the most important filmmakers of the previous decades. This volume illustrates why the Iranian filmmaker achieved critical acclaim around the globe and details his many contributions to the art of filmmaking. Kiarostami began his illustrious career in his native Iran in the 1970s, although European and American audiences did not begin to take notice until he released his 1987 feature Where's the Friend's House? His films defy established conventions, placing audiences as active viewers who must make decisions about actions and characters while watching the narratives unfold. He asks viewers to question the genre construct (Close-Up) and challenges them to determine how to watch and imagine a narrative (Ten and Shirin). In recognition for his approach to the craft, Kiarostami was awarded many honors during his lifetime, including the top prize at the Cannes Film Festival in 1997 for Taste of Cherry. In Abbas Kiarostami: Interviews (UP of Mississippi, 2023) ,editor Monika Raesch collects eighteen interviews (several translated into English for the first time), lectures, and other materials that span Kiarostami's career in the film industry. In addition to exploring his expertise, the texts provide insight into his life philosophy. This volume offers a well-rounded picture of the filmmaker through his conversations with journalists, film scholars, critics, students, and audience members. Monika Raesch is associate professor of film studies and video production at Suffolk University. A native of Germany, she is editor of Margarethe von Trotta: Interviews, published by University Press of Mississippi, and author of The Kiarostami Brand: Creation of a Film Auteur. Her work has appeared in such publications as the Journal of Film and Video and Feminist Media Studies. Kaveh Rafie is a PhD candidate specializing in modern and contemporary art at the University of Illinois at Chicago. His dissertation charts the course of modern art in the late Pahlavi Iran (1941-1979) and explores the extent to which the 1953 coup marks the recuperation of modern art as a viable blueprint for cultural globalization in Iran. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

The cinephile community knows Abbas Kiarostami (1940–2016) as one of the most important filmmakers of the previous decades. This volume illustrates why the Iranian filmmaker achieved critical acclaim around the globe and details his many contributions to the art of filmmaking. Kiarostami began his illustrious career in his native Iran in the 1970s, although European and American audiences did not begin to take notice until he released his 1987 feature Where's the Friend's House? His films defy established conventions, placing audiences as active viewers who must make decisions about actions and characters while watching the narratives unfold. He asks viewers to question the genre construct (Close-Up) and challenges them to determine how to watch and imagine a narrative (Ten and Shirin). In recognition for his approach to the craft, Kiarostami was awarded many honors during his lifetime, including the top prize at the Cannes Film Festival in 1997 for Taste of Cherry. In Abbas Kiarostami: Interviews (UP of Mississippi, 2023) ,editor Monika Raesch collects eighteen interviews (several translated into English for the first time), lectures, and other materials that span Kiarostami's career in the film industry. In addition to exploring his expertise, the texts provide insight into his life philosophy. This volume offers a well-rounded picture of the filmmaker through his conversations with journalists, film scholars, critics, students, and audience members. Monika Raesch is associate professor of film studies and video production at Suffolk University. A native of Germany, she is editor of Margarethe von Trotta: Interviews, published by University Press of Mississippi, and author of The Kiarostami Brand: Creation of a Film Auteur. Her work has appeared in such publications as the Journal of Film and Video and Feminist Media Studies. Kaveh Rafie is a PhD candidate specializing in modern and contemporary art at the University of Illinois at Chicago. His dissertation charts the course of modern art in the late Pahlavi Iran (1941-1979) and explores the extent to which the 1953 coup marks the recuperation of modern art as a viable blueprint for cultural globalization in Iran. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Welcome to Bad Dad Rad Dad, where Kylie and Elliott talk about the movies they watch each week while searching for better cinematic dads. In this week of banger endings, they watch their first Kiarostami, discuss why both gender and marriage are prisons, and watch a favourite classic horror film in the theatre. This week's movies are: Where is the Friend's House (1987), Mustang (2015), The Texas Chainsaw Massacre (1974), Forgetting Sarah Marshall (2008), Panic Room (2002), Lady Bird (2017).Read Sylvia Douglas's blog on The Texas Chainsaw Massacre Watch Jury Duty on Amazon Prime (it's sadly been taken off of Youtube) Follow along onInstagram: @baddad.raddadLetterboxd: kylieburton Letterboxd: ElliottKuss Hosted on Acast. See acast.com/privacy for more information.

durée : 01:27:12 - Les Nuits de France Culture - par : Albane Penaranda - Qu'est-ce qu'un grand cinéaste ? Sans doute celui qui sait filmer l'universel dans la singularité d'un peuple. En 1997, le cinéaste iranien Abbas Kiarostami obtient la Palme d'Or à Cannes pour "Le Goût de la Cerise". L'émission "Ciné-club" lui consacre un numéro la même année. - invités : Abbas Kiarostami Cinéaste

durée : 00:10:43 - Les Nuits de France Culture - Place aux films et aux cinéastes auxquels le Festival de Cannes a attribué ses Palmes d'Or avec un programme d'archives proposé par Albane Penaranda, à l'occasion de la 76ᵉ édition du Festival de Cannes. Au programme : De Sica, Wenders, Pialat, "Apocalypse Now", Kiarostami, et 50 ans de Croisette...

Na estante há, esta semana, poesia e poesia, um clássico de literatura de viagens portuguesa e um livro para crianças que fará com que os pais também aprendam. Neste último caso, o tema é a história do azulejo. A visita guiada leva-nos aos Açores, a bordo da riqueza literária de Raul Brandão. E os poetas de serviço são Luísa Neto Jorge e o cineasta iraniano Abbas Kiarostami.See omnystudio.com/listener for privacy information.

La mirada d'Abbas Kiarostami, el gran director de cinema irani

Abbas Kiarostami's Close-up (1990) explores a real-life incident of celebrity impersonation in late '80s Iran through a mixture of documentary, recreation, and the director guiding the narrative as events still unfold. Because of that last element, exactly what mix of reality and fiction exists is up for debate, and in the end, much of what really happened only happened because of Kiarostami's influence. But beyond all the questions of manipulation, there's also a picture of class relations in Iran at the time.

El lunes nos sale festivo enLREM, aunque llueva. Se encarga de ello nuestra abu, Josefina Martínez, todoenergía. Y Ramón Redondo, nuestro historiador del cine en Asturias, que hoy noscuenta las andanzas del iraní Kiarostami en el Festival de Cine de Gijón. Malostiempos para el fútbol asturiano: la buena cara la ponen Fernando Menéndez yRafa Testón. Lucía López Santos le toma la delantera a internet y las redessociales. Carlos Lapeña, en Modernos de Otros Tiempos, nos regala un nuevocapítulo de la saga Barnum, tal vez el mayor mentiroso de la historia. Y, en elDía de las Escritoras, nuestros oyentes nos cuentan cuáles son sus mujeres queescriben favoritas.

El lunes nos sale festivo enLREM, aunque llueva. Se encarga de ello nuestra abu, Josefina Martínez, todoenergía. Y Ramón Redondo, nuestro historiador del cine en Asturias, que hoy noscuenta las andanzas del iraní Kiarostami en el Festival de Cine de Gijón. Malostiempos para el fútbol asturiano: la buena cara la ponen Fernando Menéndez yRafa Testón. Lucía López Santos le toma la delantera a internet y las redessociales. Carlos Lapeña, en Modernos de Otros Tiempos, nos regala un nuevocapítulo de la saga Barnum, tal vez el mayor mentiroso de la historia. Y, en elDía de las Escritoras, nuestros oyentes nos cuentan cuáles son sus mujeres queescriben favoritas.

El lunes nos sale festivo enLREM, aunque llueva. Se encarga de ello nuestra abu, Josefina Martínez, todoenergía. Y Ramón Redondo, nuestro historiador del cine en Asturias, que hoy noscuenta las andanzas del iraní Kiarostami en el Festival de Cine de Gijón. Malostiempos para el fútbol asturiano: la buena cara la ponen Fernando Menéndez yRafa Testón. Lucía López Santos le toma la delantera a internet y las redessociales. Carlos Lapeña, en Modernos de Otros Tiempos, nos regala un nuevocapítulo de la saga Barnum, tal vez el mayor mentiroso de la historia. Y, en elDía de las Escritoras, nuestros oyentes nos cuentan cuáles son sus mujeres queescriben favoritas.

For this episode we decided to meet and discuss (like Dream and Hob Gadling in The Sandman) at least two new things we had done/learned/found worth thinking about since our last episode. These include questions about language and culture inspired by a trip to Ladakh, digging through the libraries and archives of former imperial powers like England and other European countries for Tibet-related materials (where would Tibet be on the late Queen's Christmas culture property repatriation gift list?), Iranian filmmaker Kiarostami's Koker trilogy and the idea of self-reflexivity in cinema and Tibetan politics. Particularly in Tibetan politics, let us reiterate. Overall, a real khichdi of an episode. All under an hour, we're mighty please to add.Intro/Outro theme: Karachal - Alash Ensemble (freemusicarchive.org/music/Alash_Ensemble/)image: personal Support this podcast at — https://redcircle.com/khyyl-gtm-khyeltam/donations

Sit back and enjoy the ride as Alex and Jonathan talk through the road-trip style films of Abbas Kiarostami in Where Is the Friend's House? (1987), And Life Goes On (1992), Through the Olive Trees (1994), and Taste of Cherry (1997). We discuss the way Kiarostami blends truth and fiction, how he uses long takes to provoke deeper thought from the audience, and the detailed attention he pays to the way people interact with their environment and each other. Skip to: 7:56 – Where Is the Friend's House? 24:33 – And Life Goes On 42:19– Through the Olive Trees 55:24 – Taste of Cherry 1:15:53 – Overall 1:31:54 – Coming Attractions Coming Attractions: Laura (1944) Bonjour Tristesse (1958) Anatomy of a Murder (1959) Bunny Lake is Missing (1965) For more information, visit the blog: https://thefilmlings.wordpress.com/2022/06/29/kiarostami Join us on Discord for ongoing film discussion: https://discord.gg/MAF6jh59cF Support the Show! Patreon: https://patreon.com/thefilmlings Ko-fi: https://ko-fi.com/thefilmlings

El libro más largo de Pesadillas merecía que le hiciéramos cinco partes. Por eso, en este programa llegamos a la mitad exacta. Y además echamos un vistazo a la nueva película de Kiarostami, hablamos de condones tricotados (y su relación los gemelos Superlópez), vemos la última barrabasada de Pablo Motos y hablamos de Walt Disney descongelado. Además, Liam Neeson, penes de pitufo, el Yeti y Luis Toser. ¡Dale!

Finn & Uther watch 'Close-up' (1990), Kiarostami all-time brilliant docudrama about imposters and the pain of being unseen, and Jordan Owen and Davis Aurini's 'The Sarkeesian Effect' (2015), which really puts the "ugh! men!" into docughmentary. See acast.com/privacy for privacy and opt-out information.

Hitchcock, Godard & Kiarostami- three masters in one episode no 89 with the prominent Film Critic and Scholar Sir David Sterritt. Sir David Sterrit is a film critic, author, teacher and scholar. He is most notable for his work on Alfred Hitchcock and Jean-Luc Godard. He has also served two terms as chair of the New York Film Critics Circle . His writings on film and film culture have appeared in numerous publications, including The New York Times, Cahiers du cinéma, MovieMaker, The Huffington Post, Senses of Cinema, Cineaste, Film Comment, Film Quarterly, Beliefnet, CounterPunch, Journal of the American Psychoanalytical Association, Journal of American History, Journal of French and Francophone Philosophy, Sterritt has appeared on CBS Morning News, Nightline, Charlie Rose, Geraldo at Large, Catherine Crier Live, CNN Live Today. Find him on www.davidjsterritt.com. Pointers: 1) Hitchcockian- suspense, pure cinema, pure images. 2) Elements- virtual virtuosity, montage 3) Influence of Soviet cinema and german expressionism. 4) Language - Syntax. 5) Influenced French to Asian cinema- Wong Kar wai. 6) Vertigo 7) Godard n French new wave 8) Breathless- cult classic, gangster movie re innovated 9) Filmmakers vs his films 10) Kiarostami from an American perspective:) 11) Point of confluence- Hitch, Godard, Kiarotami 12) Film Festivals then and now 13) Film criticism - then, now... Email id: metaphysicallab@gmail.com/  You can follow us and leave us feedback on Facebook, Instagram, and Twitter @eplogmedia, For partnerships/queries send you can send us an email at bonjour@eplog.media   Intro Music: "Hard Boiled" by Kevin MacLeod (https://incompetech.com) License: CC BY (http://creativecommons.org/licenses/by/4.0/ Outro Music: Shades of Spring by Kevin MacLeod Link: https://incompetech.filmmusic.io/song/4342-shades-of-spring License: https://filmmusic.io/standard-license   DISCLAIMER: The views expressed on all the shows produced and distributed by Ep.Log Media are personal to the host and the guest of the shows respectively and with no intention to harm the sentiments of any individual/organization. The user acknowledges and agrees that Ep.Log Media shall not in any manner whatsoever be responsible or liable for the content. The said content is not obscene or blasphemous or defamatory of any event and/or person deceased or alive or in contempt of court or breach of contract or breach of privilege, or in violation of any provisions of the statute, nor hurt the sentiments of any religious groups/ person/government/non-government authorities and/or breach or be against any declared public policy of any nation or state. See omnystudio.com/listener for privacy information.

Damos vueltas por los cerros de Teherán, y miramos por la ventana de la camioneta de Badii. Esta semana estaremos conversando sobre El sabor de las Cerezas y 24 cuadros de Abbas Kiarostami.

We have the film critic, author, filmmaker and actor from Iran, Hamed Soleimanzadeh. Hamed has been on the jury of more than 15 film festivals including the 74th Cannes Film Festival (FIPRESCI) in France. Pointers: 1) Iranian culture and cinema- now and post. 2) The stories during the co-vid. 3) Influence of Kiarostami and Farhadi 4) What is Cinema getting influenced by. 5) Challenges the cinema in Iran is facing. 6) Choosing 3 films at the FIRPRECI Cannes jury- Drive my car, Playground, and Feathers. 7) Genre films 8) Iranian & French films 9) Future of Cinema and the aesthetic influences 10) Kiarostami - a quick appreciation 11) Teaching films to the new age Iranians. Email id: metaphysicallab@gmail.com/  You can follow us and leave us feedback on Facebook, Instagram, and Twitter @eplogmedia, For partnerships/queries send you can send us an email at bonjour@eplog.media   Intro Music: "Hard Boiled" by Kevin MacLeod (https://incompetech.com) License: CC BY (http://creativecommons.org/licenses/by/4.0/ Outro Music: Shades of Spring by Kevin MacLeod Link: https://incompetech.filmmusic.io/song/4342-shades-of-spring License: https://filmmusic.io/standard-license   DISCLAIMER: The views expressed on all the shows produced and distributed by Ep.Log Media are personal to the host and the guest of the shows respectively and with no intention to harm the sentiments of any individual/organization. The user acknowledges and agrees that Ep.Log Media shall not in any manner whatsoever be responsible or liable for the content. The said content is not obscene or blasphemous or defamatory of any event and/or person deceased or alive or in contempt of court or breach of contract or breach of privilege, or in violation of any provisions of the statute, nor hurt the sentiments of any religious groups/ person/government/non-government authorities and/or breach or be against any declared public policy of any nation or state. See omnystudio.com/listener for privacy information.

Zola + Samara Weaving. Andj chats with Samara Weaving about Canberra and we enter another week in lockdown watching Abbas D.L. Kiarostami. Sydney Film Festival remains a mystery to us while Melbourne, always one step ahead, goes entirely online. Butch film icon Jenni Olson wins a Teddy Award, Cannes finishes, Black Widow has come and gone, Michaela Cole joins the MCU and Lynne Ramsay is smothered with work... but mostly we care about Zola, and the relationship between it's editor and writer/director Joi McMillon and Janicza Bravo.  See omnystudio.com/listener for privacy information.

Esta semana estamos de especial aniversario. Hace un año nos juntamos para charlar de cine, y un año después aquí seguimos, comentando distintos estrenos, películas pasadas y disfrutando del septimo arte. Por eso esta semana hemos preferido echar la vista atrás, a nuestros años de nacimiento para celebrar el aniversario de cada uno. Hemos escogido alguna película pendiente, o representativa y hemos dado con cuatro películas muy diferentes de las que como siempre charlaremos. Todo ello como siempre sin spoilers. Además junto a Hector continuamos nuestro Movie Challenge, esta semana películas de pequeño presupuesto pero gran taquilla. Iniciamos nuestro viaje en 1985. Un año muy icónico para el cine en el que se estrenaba Regreso al futuro, Los goonies, La joya del Nilo o Rocky 4. Kusturica con Papá está viaje de negocios ganaba la palma de oro, pero los Oscar se decantaron por Memorias de África. El melodrama de Sydney Pollack lograba 7 Oscars pero dejaba una gran víctima, la película de Steven Spielberg “El color púrpura” que al no materializar ninguna de sus 11 menciones se convertía en la película con mayor número de nominaciones sin conseguir ningún Oscar. Así que vamos a hablar de ella, “El color purpura” 1990. El año en que se cerraban dos de las trilogías más importantes de la historia del cine: la de Regreso al futuro y la del El Padrino. Los Oscar sin embargo decidieron bailar con los lobos de Kevin Costner y Cannes se rendía a los hermanos Coen en BArton Fink. EL público pues se divirtió con Solo en Casa, se enamoró con Pretty Woman, se hizo gangster con Uno de los Nuestros, forjó amistades eternas con Thelma y Luis pero sobre todo se emocionó hasta las trancas con Ghost. LA película fue un taquillazo inesperado que le llevó a los Oscar consiguiendo dos estatuillas, para Whoopie Goldberg y para su guionista Bruce Joel Rubin, que ese año estrenaba también la película que nos ocupa, una mucho más oscura y retorcida. La Escalera de Jacob El 95 es el año en que Kusturica ganaba su segunda palma de oro por Underground y el público se rendía con Toy Story, Apolo 13, Golden Eye, Seven, Casper y Jumanji. Los Oscar por su parte tuvieron un nombre propio: el de Mel Gibson y sus cinco premios con Braveheart, incluyendo en película y dirección. Donde no consiguió Gibson estatuilla fue en interpretación porque Nicolas Cage consiguió su primer y de momento único Oscar con “Leaving Las Vegas”. Terminamos nuestro repaso en 1997 cuando La Anguila de Imanura y EL sabor de las cerezas de Kiarostami se repartían la palma de Oro, el público llenaba las salas con Men In Black, la secuela de Jurassic PArk: EL mundo perdido, La Confidential, Mejor Imposible o La Boda de mi mejor amigo. Pero sin lugar a dudas 1997 tuvo un nombre, el de un buque inhundible llamado Titanic, que arrasaba con 11 premios de la cademia y las taquillas mundiales batiendo todos los records hasta la fecha. Helados con ese iceberg se quedó todo el mundo, pero en otro pueblecito gélido en canadá Atom Egoyan deslumbraba por todos los festivales del mundo con El Dulce Porvenir

Pop culture critic Roxana Hadadi returns to discuss the landmark 1990 Iranian masterpiece 'Close-Up', directed by Abbas Kiarostami. We explore the film's multiple layers of artifice, the fundamental truths those layers reveal, and reflect on finding joy in Kiarostami's cinema of absence. Read Roxana's piece on 'Through the Olive Trees' at Bright Wall/Dark Room.....Our theme song is 'Mirror' by Chris Fish.

Cette semaine, on visite l'Amérique avec NOMADLAND, on a peur avec CONJURING 3, on parle en public dans LE DISCOURS. En bref, on aborde le VAURIEN puis hop, détour vers le passé pour parler du cinéma de KIAROSTAMI. Quel bonheur, bonne écoute !SI TU VEUX SOUTENIR L'ÉMISSION, ACHÈTE DES TRUCS STYLÉS "PARDON LE MERCH" : https://teespring.com/fr/stores/pardon-le-merch _______________________________________________________________________TRUCS DU PRÉSENT :- NOMADLAND (19min11)- CONJURING 3 (44min03)- LE DISCOURS (1h02.14)EN BREF :- VAURIEN (1h11.21)LE FILM DU PASSÉ :- LE GOÛT DE LA CERISE (1h18.59)Les chroniqueurs sont SIMON RIAUX, SOPHIE GRECH & MARC MOQUIN. Et c'est présenté par votre serviteur de la chaîne INTHEPANDA, VICTOR. See acast.com/privacy for privacy and opt-out information.

Tras finalizar la trilogía Koker y pudiendo cambiar de dirección artística, Abbas Kiarostami redobló su compromiso al concebir El sabor de la cereza (1997), un filme cuya aparente simplicidad —un hombre recorre en auto polvorientos caminos en busca de alguien que lo asista en un "trabajo"— esconde una enorme ambición: realizar un filme acerca de la empatía y la compasión. Se trata de del punto de llegada de un largo recorrido creativo y que, a su vez, encontrará expresión en una suerte de "summa" fílmica: El viento nos llevará (1999). Prácticamente todos los elementos del cine de Kiarostami se dan cita ahí: infancia, naturaleza, el automóvil, la vida en lugares alejados, el peso de la tradición, la ambigüedad de la mirada, lo que se muestra (evidencia física) y lo que está más allá de la pantalla (fuera de campo). Convertido en el más importante realizador vivo, el iraní se dirige a partir de ahí hacia la abstracción y lo desconocido. Sobre eso se habla en este podcast.

durée : 00:59:07 - Plan large - par : Antoine Guillot - Abbas Kiarostami est un cinéaste audacieux, joueur, et profondément libre. Plan large sur un poète mystique, au cœur de l'exposition événement au Centre Pompidou à Paris, avec Massoumeh Lahidji, Agnès Devictor et Jean-Michel Frodon. - réalisation : Laurent Paulré - invités : Massoumeh Lahidji Interprète, commissaire, ancienne collaboratrice de Abbas Kiarostami; Agnès Devictor Maîtresse de conférences en Histoire et civilisations, spécialiste du cinéma iranien; Jean-Michel Frodon Historien et critique de cinéma; Charlène Favier Cinéaste; N.T. Binh Journaliste, critique, enseignant de cinéma (Université Paris 1 Panthéon-Sorbonne)

durée : 00:59:07 - Plan large - par : Antoine Guillot - Abbas Kiarostami est un cinéaste audacieux, joueur, et profondément libre. Plan large sur un poète mystique, au cœur de l'exposition événement au Centre Pompidou à Paris, avec Massoumeh Lahidji, Agnès Devictor et Jean-Michel Frodon. - réalisation : Laurent Paulré - invités : Massoumeh Lahidji Interprète, commissaire, ancienne collaboratrice de Abbas Kiarostami; Agnès Devictor Maîtresse de conférences en Histoire et civilisations, spécialiste du cinéma iranien; Jean-Michel Frodon Historien et critique de cinéma; Charlène Favier Cinéaste; N.T. Binh Journaliste, critique, enseignant de cinéma (Université Paris 1 Panthéon-Sorbonne)

Ce podcast propose une entrée inédite dans l’œuvre et la pensée d’Abbas Kiarostami, à partir d’archives sonores où l’artiste s’exprime en persan, traduites et commentées par Massoumeh Lahidji, co-commissaire de l’exposition au Centre Pompidou.Écriture et voix : Massoumeh LahidjiEnregistrement : Ivan Gariel Montage et mixage : Antoine Dahan Coordination de production : Laetitia PoissonnierDesign musical : Sixième son Voir Acast.com/privacy pour les informations sur la vie privée et l'opt-out.

Como culminación de su pionero trabajo educacional en el Kanun (Instituto para el desarrollo intelectual de niños y adolescentes), a mediados de los 80 Abbas Kiarostami viajó a una pequeñísima villa del norte de Irán, llamada Koker. Ahí filmó junto a un grupo de niños locales ¿Dónde está la casa de mi amigo? (1987), un largometraje en la mejor tradición neorrealista que pavimentó el camino del cineasta directo hacia las revelaciones creativas de Close Up (1990). Todo podría haber quedado ahí, pero el 21 de junio de 1990 se produce el terremoto de Manjil-Rudbar y Koker queda en el epicentro de la catástrofe: Kiarostami regresa como puede al pueblo, en busca de sus protagonistas. La experiencia fue revivida más tarde en dos filmes: Y la vida continúa(1992), docudrama acerca de esta "búsqueda", y luego A través de los olivos (1994), una película acerca de la filmación de Y la vida continúa. Vidas y tragedias reales, ficciones elaboradas sin actores profesionales, el arte como espejo del mundo (y viceversa), el pulso de un director que parte filmando "lo que ve", la forma en que "lo visto" se transfigura y los horizontes de abstracción que de ahí emanan... Cuesta toparse con un conjunto de filmes que hayan contribuido hasta tal punto en el diálogo que hoy mantenemos con lo real desde nuestras pantallas. Sobre estas obras maestras, sobre A.K. y muchas otras cosas se habla en este podcast.

durée : 00:58:45 - Toute une vie - "Quand je dis qu’il y a une dimension politique, cela ne veut pas dire qu’il n’y a pas une dimension poétique. Les plus grands films politiques sont des films poétiques." Abbas Kiarostami

Upon any discussion on the elaboration of “death” in Iran, one inevitably comes face to face with the often argued and examined notion that Iranians symptomatically suffer within a culture that is obsessed with the celebration of death, nostalgia and mourning. Many interdisciplinary scholars in recent decades have examined and provided data which proves such tendencies and their disastrous consequences for Iranians. Here, Gohar Homayounpour attempts to delve deeper into the various palettes of the “Persian Blues”, in the name of integration and a continuous re-examination of our comfortably established notions, she attempts to add a but, referring to the various derivatives of Eros's footsteps upon the Persepolis of Persia, dreaming that this but might become a possibility for “linking”, a sense of orientation, inspiration, out of these particularly destructive and melancholic aspects of the Iranian culture, orienting us towards a voyage from melancholia to mourning.     Dr. Gohar. Homayounpour is an author and psychoanalyst and member of the International Psychoanalytic Society, American Psychoanalytic Association, the Italian Psychoanalytic Society and the National Association for the Advancement of Psychoanalysis. She is the Training and Supervising psychoanalyst of the Freudian Group of Tehran, where she is also founder and former director. Homayounpour has published various psychoanalytic articles, including in the International and Canadian Journals of Psychoanalysis. Her book, Doing Psychoanalysis in Tehran, published by MIT Press in August 2012, won the Gradiva award and has been translated into many languages. Homayounpour is a member of the scientific board at the Freud Museum in Vienna and a board member of the IPA group Geographies of psychoanalysis.   The first thing that comes to mind when one is asked to elaborate on “death” in my geography is the often discussed and examined notion that Iranians symptomatically suffer within a culture that is obsessed with the celebration of death, nostalgia and mourning. Many scholars in recent decades have examined and provided data which proves such tendencies and their disastrous consequences for Iranians. I have also written about this exact notion in my book Doing Psychoanalysis in Tehran, with reference to our famous myth, “Rustam and Sohrab”, from Ferdousi's Book of Kings (Shahnameh, the most celebrated Iranian source of mythology), which has a storyline quite similar to that of Oedipus Rex, the main difference being that it is the father who unknowingly kills his son in the end. My extensive research shows that Greek mythologies appear to be populated with myths about the actual killing of fathers, while it is impossible to escape the common patterns of killing sons right across Iranian mythology. The wish to kill each other between fathers and sons is common across both mythologies, but who actually gets killed at the end and who gets rescued and is granted the right to life, is where the culturally specific element can be observed across these mythologies. I am convinced of the universality of the Oedipus complex, and the struggle for power and control it represents while embodying within it the universal fear of castration; the culturally specific element seems to be the reaction to this fear. My premise is that the Iranian collective fantasy is anchored in an anxiety of disobedience that wishes for an absolute obedience. The son desiring to rebel knows unconsciously that if he does so he might be killed, and so, in a way, he settles for the fear of castration. Is this not also seen in the differences between Catholicism and Islam? Islam means submission and demands absolute obedience to God the father, while in Christianity the demarcation between God the father and Christ the son is not quite as clear. This is clearly a very complicated and nuanced discourse, beyond the scope of this podcast. However, it appears that religions were socially constructed to fulfill the collective fantasies of these differing cultures. An analysis of Iranian history reveals it has always been a one-man show, while democracy was born within and is the essence of Greek society. In Iran one can observe a moment of discontinuity from the past, and also from the future, because we have killed our sons, our future. Ferdousi's discourse communicates a great deal of pain, tragedy and mourning. We symbolically killed our sons, became alienated and thus became a culture of mourning, for we have destroyed and killed the best part of ourselves. We destroyed our future and imprisoned ourselves in the past, eroticizing pain and suffering, and celebrating nothing that is not past. Could we say that Ferdousi's discourse provides a diagnosis of the Iranian society? He is trying to warn us, awaken us; his discourse is often that of a depressive. Daryoush Shaygan, the late famous Iranian philosopher, informs us that the Iranian past is full of the myths and epics represented in the Shahnameh, in which there are continual allusions to the good attitudes of our ancestors, the beliefs and actions of our heroes and the myths of our great kings. This is a very nostalgic recollection: in a sense a very nostalgic collective unconscious. One has to bear in mind that in countries like Iran the past is everything, and unfortunately we do indeed breathe in the air of regrets, as Shaygan puts it. I still think all of the above assertions are significant, true and noteworthy, but… This but becomes significant, for in the name of a continuous re-examination and integration, or, as Lorena Preta puts it as the raison d'être of the Geographies of Psychoanalysis project: to put psychoanalysis to work in different geographies in the wish for a reciprocal contamination, not in the name of cultural relativism where we are categorizing, naming and therefore identifying the other but in the name of a non-humanitarian hospitality, to use Derrida's term, in the name of a de-territorializing where borders are delineated as barely visible lines. Within this discourse and above it, this but becomes a necessary act. A but that for me has only become visible after more than a decade of living in Iran and doing psychoanalysis in Tehran, certainly not mutually exclusive to the above assertions, but as an attempt to thicken the plot. To just provide a few examples for the aforementioned but, can we escape the resilience that we observe when working with Iranian patients under an excruciating socio/political climate? Can we forget that this is inherently a culture of storytelling and is bestowed with a magical ability to play with language, encapsulated within Scheherazade and the Thousand And One Nights? Can we also remember that this is a culture of an exceptional cinema, of hospitality, breathtaking architecture, of marvelous poetry and of wine, yes of the best of Shiraz wine, of pleasure, of Sufism, Zarathustra and of the alluring, quintessential Persian Garden, an uncanny ability for humor and a hierarchy of friendship, just to name a few derivatives of Eros's footsteps upon the Persepolis of Persia? This is masterfully elaborated in Abbas Kiarostami's film “Where Is The Friend's Home?” The title is taken from a poem by the celebrated contemporary Iranian poet Sohrab Sepehri. To return to my ideas at the beginning of the paper on absolute obedience and authoritarianism, possibly anchored in the Iranian collective unconscious, well, the Kiarostami film is about a little boy, Ahmed, who accidentally takes his friend's notebook home. Upon realizing his mistake, he becomes terrified of the punishment that might await his friend from their severely punitive and cruel teacher if his friend isn't able to complete his homework due to the missing notebook. Our protagonist spends the rest of his day after school unsuccessfully trying to find his friend's house. The next morning, we the audience anxiously join Ahmed in his classroom, hurriedly returning Reza's notebook under our horrified gaze. We are terrified to see the punishment that awaits Reza, only to discover that Reza's homework has been completed by his friend. The movie ends here, with Reza flipping through the pages of his finished homework and finding a lovely dried flower, also left there by Ahmed. We can speculate that to find one's friend's home metaphorically to be an investment of the psychic apparatus's search and re-search for the linking process, or, to put it in Andre Green's terms, the “objectilizing function of the drive”. This desire for linking indeed prevalent within the very being of the Iranian culture is an antidote to authoritarianisms and the death-oriented-ness of my geography. A binding that comes along as a cure to the unbinding of the death drive. All I want to convey within this but is that inherent within the Iranian culture is also the desire and the courage to search for a friend's home. In short, just as we cannot speak of pure destructiveness or creativeness, attempting to stay away from such binaries, in Iran we clearly don't even have any exclusivity to Thanatos, as such a thing would be an impossibility in any case. We all have an internal compass (Eros) that could be our guide out of these particularly destructive aspects of this culture into the true meaning of the Orient, Eshragh, which in the etymology of the word means both inspiration and the place where the sun rises. In short, perhaps in the Orient there is still a sense of orientation to be discovered for all of us, as we put psychoanalysis to work, even if, like Ahmed, we don't find our friend's house, perhaps the road we take will indeed lead us to his home. Over the years I have attempted to delve deeper into the Persian Blues; a word associated with melancholia, a mysterious Persian color, and indeed a genre of music which is as much a representation of life as death, encapsulating triumphs and laments, loss, love, friendships, loyalties, betrayals, joys, and fears. Just like my beloved tunes of the blues from the Deep South; the sound of the slaves, the lyrics of the laments of the formerly enslaved and their descendants; Persian Blues is associated with depression, melancholia, misfortune, betrayal, pain and regrets. But we should not forget that inherent within Persian Blues, as it is within the tunes of the Blues, there is also a sense of orientation to be re-discovered, possibly not only for my geography but for yours as well, where pleasure, passion, humor, dreams, and friendships are celebrated. Central to the idea of blues performance is the concept that, by performing or listening to the Blues, one is able to overcome one's sadness: to lose the “Blues”. It is precisely this inherent duality of life and death, Eros and Thanatos, that makes the Blues such a joy to hear. Persian Blues is not about merely eroticizing sadness; it is not about drowning in it; it is about transforming it, feeling it, making music with it. Ultimately, it means going beyond the “Blues”.Like Abbas Kiarostami, I have a hunch that in getting us to this beyond, from melancholia to mourning, a newly discovered sense of orientation/inspiration will be instrumental; towards a linking inherent within the project of geographies of psychoanalysis.   Bibliography   Ferdowsi, A. (2016). Shahnameh: The Persian book of kings. UK: Penguin Press. Green, A. (1999). The work of the negative, Weller A, translator. London: Free Association Books. [(1993). Le travail du négatif. Paris: Minuit.] Homayounpour, G. (2012). Doing psychoanalysis in Tehran. Cambridge: MIT Press. Derrida, J., & Dufourmantelle, A. (2000). Of hospitality. California: Stanford University Press. Kiarostami, A. (1987). “Where Is The Friend's Home?”[Film]. Home for the intellectual development of children and adolescents Productions. Shaygan, D. (2005, 12 Dec). The depth of ordinary. Tehran: Shargh magazine, 294(20). [In Persian] Sepehri, S. (2008). Eight books. Tehran: Tahoori publication. [In Persian]. Hezaar va Yek Shan (Thousand nights and a night) (2011). Translated by Mirza Abd-al Latif Tasuji Tabrizi. Reprinted of Kolaale Khaavar Publications (1936): Tehran   Definitions and the symbol of Eshragh. (2018, 6 Jan). Tehran: Eshragh Institute of higher education. Link: https://eshragh.ac.ir/index.php/en/eshragh-at-a-glance/introducing-eshragh/279-terminology-and-symbol    

This week on Drink in the Movies Michael & Taylor discuss their First Impressions of: Waiting for the Barbarians & The Book of Vision(2:05) and the Abbas Kiarostami Feature Films: Certified Copy(08:44), Close Up(29:21), and The Wind Will Carry Us(42:16). Visit us at https://drinkinthemovies.com Twitter, Instagram, and Facebook.    

Recorded on Valentine's Day, this Arthouse Drive-In finds Robert and T exploring their first Iranian film together, Abbas Kiarostami's 1997 masterwork, 'Taste of Cherry.' The film follows the mysterious Mr. Badii (Homayoun Ershadi) as he drives around Tehran searching for someone to help him with a grave task. Taking place almost entirely in Mr. Badii's car, the film unfolds in a fashion unlike anything Robert has shown T up to this point. Taste of Cherry presents a melancholy experience for viewers, yet our hosts delve deep into Kiarostami's style to show the meticulous care taken in creating the film. Robert discusses the way the film experiments with perspective and T finds parallels between Taste of Cherry and films such as The Shining for their use of long takes to create a foreboding atmosphere that keeps the viewer entranced. Come along with Robert and T as they bring this masterpiece of Iranian film to your homes, through the convenience of your local Arthouse Drive-In!

This Money on the Left/Superstructure teaser previews our third premium release, a one-off lecture from Scott Ferguson on Abbas Kiarostami's Close Up (1990) for Patreon subscribers.The full video lecture can be found here: https://www.patreon.com/posts/modern-movie-in-46862120 For access to the full video lecture, subscribe to our Patreon here: https://www.patreon.com/MoLsuperstructureIf you are interested in premium offerings but presently unable to afford a subscription, please send a direct message to @moneyontheleft or @Superstruc on Twitter & we will happily provide you with membership access.Course Description: In this lecture, professor Scott Ferguson explores a reparative cinematic approach to social alienation and unemployment in the film Close Up (1990) by the late Iranian director Abbas Kiarostami.

S01E05 — Fuego podcastero camina conmigo. Si hablamos de podcasts de cine no puede faltar Quémese. Hablé con Federico Frabizio sobre uno de los primeros pods sobre cine en Argentina. En los 7 años de historia del programa pasaron varios invitados, columnistas, festivales y... muchas películas. Conversamos sobre la identidad de Quémese (no se enojen los fanáticos de Kiarostami), las películas "menores" de los hermanos Coen, Joker, Portrait Of A Lady On Fire, Dolor y gloria, Mad Max: Fury Road y más. Ya pueden escucharlo.

The nerds continue Kiarostami month reviewing Ten (2002). Become a Patron: www.patreon.com/thenerdcorps Visit our website! www.thenerdcorps.com We have merch! Support the nerds by buying a piece of merch! https://teespring.com/stores/the-nerd-corps Join our official Facebook group for nerd discussions! www.facebook.com/groups/thenerdcorps Follow us on Twitter! www.twitter.com/thenerdcorps_ Follow us on Instagram! www.instagram.com/thenerdcorps Logo done by Alex Almeida, follow her to see her work www.twitter.com/Zans_Zone Intro by Nikki SilentUschi, email her for business inquiries at silentuschi@gmail.com Theme music by https://moamanofaction.bandcamp.com/album/fall-sampler https://www.twitter.com/circuitbird --- Support this podcast: https://anchor.fm/thenerdcorps/support

The nerds and Ayden Byrnes review the third film in Kiarostami month, Certified Copy (2010). Become a Patron: www.patreon.com/thenerdcorps Visit our website! www.thenerdcorps.com We have merch! Support the nerds by buying a piece of merch! https://teespring.com/stores/the-nerd-corps Join our official Facebook group for nerd discussions! www.facebook.com/groups/thenerdcorps Follow us on Twitter! www.twitter.com/thenerdcorps_ Follow us on Instagram! www.instagram.com/thenerdcorps Logo done by Alex Almeida, follow her to see her work www.twitter.com/Zans_Zone Intro by Nikki SilentUschi, email her for business inquiries at silentuschi@gmail.com Theme music by https://moamanofaction.bandcamp.com/album/fall-sampler https://www.twitter.com/circuitbird --- Support this podcast: https://anchor.fm/thenerdcorps/support

En esta nueva sección de Críticas Sobre La Marcha nos juntamos desde la distancia, ya en la Nueva Normalidad, para continuar con el desarrollo de la crítica de cine. En esta ocasión Ignacio Pablo Rico y Yago Paris analizan "Montedoro", de Antonello Faretta, una película italiana de cine de autor que se mueve entre las líricas de Kiarostami y Tarkovsky, ofreciendo un resultado que nada tiene que ver con los ejercicios cinematográficos en los que habitualmente se mueve el cine de festivales. El tema que cierra el podcast es "Find The Way", de Roedelius y Carl Michael Von Hausswolff: https://open.spotify.com/track/5f3vcTqppvO89wYSNzUUYz?si=Eutkbuq8TsGSNGCIELpjnw

We're discussing Abbas Kiarostami's enigmatic romance this week with Rob franco as the conversation delves into being okay with not comprehending Kiarostami, this movie holding some of our favorite shots of the decade and where to begin with a directors filmography  Alex Jones interviewing David Lynch https://youtu.be/SRxC-BX4K6c  --- Send in a voice message: https://anchor.fm/exitingthroughthe2010s/message Support this podcast: https://anchor.fm/exitingthroughthe2010s/support

Roqe 1.22 - An interview with Natalie Amiri, and Ahmad Kiarostami, on continuing the legacy of his legendary filmmaker father, Abbas Kiarostami.

José Carlos Cabrejo y Ricardo Bedoya hablaron del cine que reflexiona sobre el cine. Las películas analizadas se refieren a otras por medio de guiños y homenajes, alteran las convenciones de su propio lenguaje para comprender su condición de artificio, o se convierten en espejo del mundo cinematográfico. Se comentan películas dirigidas por Lynch, Tarantino, Hitchcock, Godard, Varda, Fellini, Truffaut, Craven, Bergman, Brakhage, Snow, Kiarostami, Panahi, entre otros cineastas.

José Carlos Cabrejo y Ricardo Bedoya hablaron del cine que reflexiona sobre el cine. Las películas analizadas se refieren a otras por medio de guiños y homenajes, alteran las convenciones de su propio lenguaje para comprender su condición de artificio, o se convierten en espejo del mundo cinematográfico. Se comentan películas dirigidas por Lynch, Tarantino, Hitchcock, Godard, Varda, Fellini, Truffaut, Craven, Bergman, Brakhage, Snow, Kiarostami, Panahi, entre otros cineastas.

Máris megéreztünk az ázsiai évadunk utolsó etapjához (hogy elrepült, igaz?), ugyani Iránban fejezzük be a kontinens körüli utunkat. Abbas Kiarostami az iráni új hullám jeles alakja, akit a nemzetközi filmkritikusok és filmrajongók is óriási becsben tartanak. A cseresznye íze (angolul ismert címén Taste of Cherry) 1997-es sikere is ezt mutatja, amellyel megosztva, de első iráni filmként elnyerte az Arany Pálmát Cannes-ban. Ismét előkerül a Vakfolt podcastban az Arany Párna-díj, amelyet csodák-csodájára másodjára is egy olyan filmmel kapcsolatban osztunk ki, amelynek a főszereplője egy elmagányosodott férfi, akinek a kilátástalanságáról mégis sikerül humanista filmet faragnia alkotójának. De mivel tűnik ki a nemzetközi filmesek sokaságából Kiarostami rendezése? Miért izgalmas, ha egy rendező amatőröket választ a szerepeire? Mikor jó szundítani egyet a moziban? Hogyan jutunk dűlőre a film különös záró képsoraival? Linkek A Vakfolt podcast Facebook oldala és a Facebook-csoportunk A Vakfolt podcast a Twitteren A Vakfolt Patreon-oldala (új!) Vakfolt címke a Letterboxdon A Vakfolt az Apple podcasts oldalán A Vakfolt a Spotify-on A Vakfolt a YouTube-on A főcímzenéért köszönet az Artur zenekarnak András a Twitteren: @gaines_ Péter a Twitteren: @freevo Emailen is elértek bennünket: feedback@vakfoltpodcast.hu

¿Cine de "arte" o cine "comercial"? mucha gente está confundida por estos dos tipos de cine aparentemente excluyentes el uno del otro.En este viaje Javier y Juan Pablo hablan de la pasión que unió sus caminos profesionales mientras intentan profundizar en el tema de la cinematografía y los prejuicios que lo rodean.En este episodio los viajeros se darán cuenta de que no todo es blanco y negro cuando se habla de cine y de arte.MúsicaLito Nebbia - La BalsaThe white stripes - The union foreverThe union forever es una canción perteneciente a White Blood Cell, tercer trabajo discográfico de la banda estadounidense The White Stripes. La letra de esta melodía fue creada pensando en una película que goza de la calificación de obra maestra de la historia del cine. Estamos hablando de Ciudadano Kane dirigida por Orson Welles. Una cinta especialmente admirada por su innovación en la música, en la fotografía y en la estructura narrativa. En The union forever, música y cine se fusionan. Y a lo largo de la composición podemos disfrutar de una buena parte de los diálogos de esta conocida película. Lista de Directores 1.- David LynchEs difícil no estar agradecido con la persona que me mostró que el cine es mucho más que una manera de contar historias. David Lynch me abrió una puerta al inconsciente por medio de la plástica, los sonidos y las interpretaciones actorales. Tras ver Mulholland Drive supe que a esto me quería dedicar, pues por primera vez en mi vida supe que era posible capturar y comunicar sensaciones tan íntimas y ocultas en los seres humanos, ver esto en su cine automáticamente me provocó a intentar hacer lo mismo.  A él le debo el haberme mostrado la potencia que tiene este maravilloso lenguaje.Recomiendo: Mulholland Drive, Blue Velvet, Lost Highway, Wild at Heart, Twin Peaks...  2.- Jim JarmuschMientras realizo esta lista me doy cuenta que uno de los aspectos más relevantes para elegir a mis autores favoritos es sin duda el estilo. En este inciso creo que no hay muchos que puedan ganarle a Jarmusch. La razón por la que veo sus películas es el increíble estilo que tienen, la historia puede gustarme o no, pero francamente no me importa, lo que nunca ha dejado de cautivarme es la exquisitez que me genera, es una sensación como la de sentarme en la sala a a escuchar un buen álbum mientras saboreo un whisky y un habano. Recomiendo: Dead Man, Only lovers left alive, Coffee & Cigarettes, Broken Flowers, Down by Law, Ghost Dog... 3.- Andrei TarkovskyPocos son los autores que se sacrifican en busca de una auténtica visión, nadie ha hecho esto con tanto rigor como el poeta Andrei Tarkovsky. No es fácil hacer un cine contemplativo, retar la paciencia de los espectadores para intentar llevarlos a los más altos niveles estéticos que puede alcanzar el arte, Tarkovsky lo hizo. Es posiblemente el más espiritual de todos los cineastas y, si los espectadores no creen posible que una película conduzca al entendimiento de un iluminado, es porque no han visto su cine o, lo que es más probable, no se han dejado invadir por su presencia.Recomiendo: El Espejo, Sacrificio, Nostalgia, Stalker... 4.- Luis BuñuelDivertido, polémico, misterioso, gracioso, ocurrente, crítico, inteligente, sarcástico, profundo, sensible y humano son sólo unos de los adjetivos que se me ocurren para describir su cine. Amo el surrealismo como a ningún otra corriente artística, y en el cine, Buñuel es su representante oficial.Recomiendo: Nazarin, El fantasma de la libertad, Viridiana, El ángel exterminador, Él, La vía láctea, Simón del desierto, Los olvidados, El río y la muerte, El bruto, Bella de día... 5.- Abbas KiarostamiGracias a Kiarostami descubrí que la espectacularidad del cine no está en su grandilocuencia, él me mostró que lo sublime también puede encontrarse en lo pequeño, en lo casual, en lo cotidiano, la maestría del cineasta radica en su capacidad para observar, no solamente la forma en que se tejen relaciones, sino la esencia misma de las cosas.Recomiendo: Close up, Copia certificada, El sabor de las cerezas, Ten, La casa de mi amigo, A través de los olivos, El viento nos llevará... 6.- Werner HerzogAsí como Kiarostami descubre la espectacularidad de la pequeñez, Herzog nos muestra la pequeñez de la grandilocuencia. Este hombre es capaz de mover montañas (en el sentido literal) con tal de llevar a cabo un acto proporcionalmente insignificante. No hay imposibles para Herzog, no hay nada que él no haría con tal de mostrarnos una imagen nueva del mundo.Recomiendo: Aguirre, Fitzcarraldo, El enigma de Kaspar Hauser, Grizzly Man, Lessons of darkness... 7.- Stanley KubrickProbablemente no exista otro director que haya logrado entender de manera tan exacta la importancia de cada uno de los ingredientes que hacen a una buena película, todo en Kubrick es perfecto: tema, trama, personajes, diálogos, cinematografía, puesta en escena, interpretaciones, escenografía, vestuario, montaje... excelencia técnica y artística, tal vez es el único director que haya sobrevolado la mediocridad.Recomiendo: Ojos bien cerrados, Barry Lyndon, Odisea en el espacio, Naranja mecánica, El resplandor, Caminos de gloria, Dr Strangelove, Cara de guerra... 8.- Pier Paolo PasoliniNo hay mucho que pueda decir de Pasolini más allá de que es uno de los más grandes artistas que haya dejado el siglo pasado. Con esto me refiero a que muy pocos autores tienen una mirada tan penetrante en la historia del arte y conocen tan bien su lugar dentro de ella como el cineasta italiano. Hay mucho que admirar de la enorme osadía y carácter crítico de Pasolini, le costó la vida pero lo llevó a la eternidad.Recomiendo: Edipo Rey, Decameron, Los cuentos de Canterbury, El evangelio según San Mateo, Saló o los 120 días de Sodoma... 9.- Aki KaurismakiKaurismaki tiene el don de representar a su cultura finlandesa -que con cierta justicia puede ser calificada de aburrida, fría y mezquina- con tal estilo y profundidad que deja claro que estamos ante la obra de un virtuoso. No hay nada aburrido, frío ni mezquino en el cine de Kaurismaki,  es absolutamente todo lo contrario.Recomiendo: El hombre sin pasado, Ariel, Los Cowboys de Leningrado van a América, La joven de la fábrica de cerillas, Hamlet va de negocios, El puerto... 10.- Robert BressonA veces me siento a reflexionar sobre aquello que puede llamarse un "cine puro", me refiero a la capacidad que tiene el cine de valerse por sí mismo como un arte, independiente de la literatura, la música, el teatro y demás; sin duda hay muchos cineastas que han dedicado sus esfuerzos a conseguirlo, algunos con más éxito que otros. Para mi el máximo ejemplar de ellos se llama Robert Bresson.Recomiendo: Pickpocket, Un condenado a muerte se escapa, Mouchette, Al azar Balthazar, El dinero... 

The voice in cinema is a phenomenon that is in many ways taken for granted. Since the advent of the talkies, the speaking voice synchronised to the human body on-screen is the ingrained process for narrative exposition and character development. However, this accepted synchronisation is one of sound cinema’s fundamental illusions. This major production for The Cinematologists features the analysis from leading film scholars and critics, each focusing on uses and interpretations of cinematic voice, using a plethora of filmic examples. Many aspects of the cinematic voice are explored including star voices, script and performance, sonic aesthetics of the voice, voice-overs, the singing voice, voices in animation, the disembodied voice, and politics of who has a voice and who listens. We draw upon many of the key thinkers on film sound including the seminal work of Michel Chion. Chion developed concepts like Audio-Vision, to explore how sound shapes how the screened image can be understood, and acousmetré, meaning the cinema’s use of disembodied off-screen voice. Using these ideas he forwards the argument that sound is not a secondary addendum to image in the cinematic experience, but fundamentally structures how we see and understand film. Unlike our usual conversational format, this episode is an audio-essay; recorded interviews cut together with indicative clips in a sonic collage which is hopefully an immersive experience transversing the boundaries between creativity and criticism. We recommend that you listen to this episode on headphones to get the full effect. As always Dario and Neil discuss the themes of the podcast but also engage with the production and formal approach in the context of film podcasts more broadly. Contributors to this episode are (in order of appearance are): Dario Llinares - Website - Twitter Clive Frayne (11:03-19:18)  - Website - Twitter Neil Fox - (19:56-29:30) Website - Twitter Laura Tunbridge - (32:08-37:08) Website - Twitter Catherine Wheatley - (41:46-47:33) Website - Twitter Ian Garwood  (48:56-55:00) - Website - Twitter Farshid Kazemi (55:51-1:01:50) - Website Jennifer O’Meara - (1:06:14-1:14:24) Website - Twitter Mark Kermode (1:15:40-1:23:22) - Website - Twitter William Brown (1:23:56-1:36:14) - Website - Twitter My profound thanks for their time, labour and critical insight which has made this episode possible. A full transcript of this episode is available at www.cinematologists.com Film clips (in broadcast order) The Jazz Singer (1927, Alan Crosland) Blackmail (1929, Alfred Hitchcock) Dead of Night [The Ventriloquist’s Dummy (1945, Alberto Cavalcanti) To Have and Have Not (1944, Howard Hawks) The Trial (1962, Orson Welles) Dirty Harry (1972 Don Siegel) 2001: A Space Odyssey (1968, Stanley Kubrick) In the Heat of the Night (1967, Norman Jewison) Inherent Vice (2014, Paul Thomas Anderson) Dick Tracy (1990, Warren Beatty) The Shawshank Redemption (1995, Frank Darabont) Only Lovers Left Alive (2014, Jim Jarmusch) White Men Can’t Jump (1992, Ron Shelton) Daughters of the Dust (1991, Julie Dash) Félicité (2017, Alain Gomis) Mary Poppins (1964, Robert Stevenson) Magnolia (1999) Paul Thomas Anderson The Wind Will Carry Us (1999, Abbas Kiarostami) All the President’s Men (Alan J. Pakula) Her (2014, Spike Jonze) Toy Story (1995, John Lassiter) Puss in Boots [Antonio Banderas Voice Session] Frozen (2013, Jennifer Lee, Chris Buck) Anomalisa (2016, Charlie Kaufman, Duke Johnson) Star Wars (1977, George Lucas) The Exorcist (1973, William Friedkin) The Exorcist Original Voice Recordings The Exorcist documentary Monty Python’s Life of Brian (1979, Terry Jones) The Dark Knight Rises (2012, Christopher Nolan) The Great Dictator (1940, Charlie Chaplin) Valkyrie (2008, Bryan Singer) The Wizard of Oz (1939, Victor Flemming) Some Like it Hot (1959, Billy Wilder) References (in order of mention): Altman, Rick. 1980. Moving Lips: Cinema as Ventriloquism. Yale French Studies, 60 Cinema/Sound: pp. 67-79 - https://www.jstor.org/stable/pdf/2930005.pdf?seq=1 Chion, Michel. 1999. The Voice in Cinema. Columbia University Press.  Barthes, Roland. 1978. The Grain of the Voice. In Image, Music, Text. New York: Wang and Hill. pp.179-189. Whittaker, Tom and Wright, Sarah. 2017. Locating the Voice in Film: Critical Approaches and Global Perspectives. Oxford University Press. Kozlov, Sarah. 1992. Invisible Storytellers: Voice-Over Narration in American Fiction Film. University of California Press. Cavell, Stanley. 1994. A Pitch of Philosophy: Autobiographical Exercises. Harvard University Press. Clements, Catherine. 1989. Opera, Or The Undoing Of Women. Virago. Cavarero, Adrianna. 2005. For More Than One Voice: Toward a Philosophy of Vocal Expression. Stanford University Press. Kiarostami, Abbas. 2015. Lessons with Kiarostami. Sticking Place Books. Dolar, Mladen. 2006. A Voice and Nothing More. Massachusetts: MIT Press. Sobchak, Vivien. 2005. When the Ear Dreams: Dolby Digital and the Imagination of Sound. Film Quarterly, 58(4), pp. 2-15. Adorno, Theodor., & Horkheimer, Max. 1944. The Culture Industry: Enlightenment as Mass Deception. Chow, Rey. 2017 ‘The Writing Voice in Cinema’. In Whittaker, Tom and Wright, Sarah. Eds. Locating the Voice in Film: Critical Approaches and Global Perspectives. Oxford University Press. Please consider sharing the show on your social networks and reviewing on your app of choice. If you would like to support us with our running cost please consider subscribing to our membership on Patreon (https://www.patreon.com/cinematologists) You can subscribe to the show on: Apple Podcasts Spotify Podbean PlayerFM Or wherever you get your podcasts.

Nick is joined by Ashkan Kazemi of the Iranian Graduate Student Association at the University of Michigan to discuss the upcoming Abbas Kiarostami retrospective beginning in March at the Michigan Theater. They discuss the impact of Kiarostami on each other's lives, the role of the artist in Iran, Iranian humor, and more. And as always, they conclude with their Movie Magic Moments of the Week.

I elfte avsnittet av Cinematiska Podden diskuterar och analyserar Daniel och Anton den iranska långfilmen Close-Up (1990), i regi av Abbas Kiarostami. Det blir ett samtal om bl.a. 90-talets fascination för verkligheten, rättegångsdrama, karaktären Sabzian, identitet, Kiarostami bildspråk, poetiska blick och filmskaparens förmåga att skapa ett syfte/intresse i scener som saknar en konflikt. Kiarostami-suspense, som skiljer sig från Hitchcock-suspense, sociala problem, neorealism, gränsen mellan fiktion och verklighet, och vad i filmen som är (och inte är) iscensatt. Filmregissörens roll och varför dokumentärfilmsberättandet är lika manipulativt som narrativet i en spelfilm. Sökandet efter ett syfte och hur film skapar medmänsklighet. 

Back in '99, the trailers and movie posters for AMERICAN BEAUTY implored us to "look closer." For their 9 From '99 review, Adam and Josh give the divisive Best Picture winner the closer look it asked for, but they don't always like what they see. Is the movie hypocritical and mean-spirited? Is it merely an overwrought sitcom? Or is it redeemed by its sincerity and the strength of its supporting cast? Also on the show, Adam's conversation with Godfrey Cheshire, author of the new book "Conversations with Kiarostami." Cheshire's book is a companion to a 25-film Abbas Kiarostami retrospective currently touring the U.S. And the first film in the Contemporary Chinese Cinema Marathon, 2010's LET THE BULLETS FLY, a furiously paced action comedy directed by Jiang Wen. Learn more about your ad choices. Visit megaphone.fm/adchoices

It doesn't take long to find application of Kiarostami's duplicity of the image. In fact, it's a theme he introduces in the very first shot of the film, setting the tone for the interplay between image and language that would carry the remainder of the film.

It's been almost three years since the death of Abbas Kiarostami, one of the titans of modern cinema. Included in this episode is a tribute by Martin Scorsese as well as a portion of a long sit-down interview with Kiarostami at the Toronto International Film Festival in 2016.

Kiarostami e Peter Marcìas registi dell'assenza. The post Peter Marcìas – L’unica lezione #skeptoX appeared first on Fred Canale Sardu » FRED Podcast Sardu. Peter Marcìas – L’unica lezione #skeptoX was first posted on aprile 9, 2019 at 5:40 pm.©2015 "Fred Canale Sardu". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm

Chloe Zhao’s new THE RIDER lives in the space between the real world and a fictional world that was memorably carved out by Abbas Kiarostami’s 1990 classic CLOSE-UP, which blends documentary and narrative to find a third approach that draws on the strengths of both while committing to neither. In this half of the comparison, we dig into what makes CLOSE-UP tick, where it fits into a Western understanding of Iranian cinema, and how Kiarostami calls attention to the artificiality of filmmaking. Plus, feedback on our recent episodes on CHICKEN RUN and ISLE OF DOGS. Please share your comments, thoughts, and questions about CLOSE-UP, THE RIDER, or both by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730.  Learn more about your ad choices. Visit megaphone.fm/adchoices

What happens when cinema becomes an obsession? I explore that question and many more in this episode on Abbas Kiarostami's 1990 genre-blending film, "Close-Up." It revolves around the true story of Hossein Sabzian, a passionate cinephile who deceives a family by impersonating the director, Mohsen Makhmalbaf, and is charged with fraud in an Iranian court. All the people involved in the story play themselves in the film, but, at every turn, Kiarostami blends documentary and fiction and raises questions about the nature of truth and the construction of reality. Not only that, this film is an unforgettable portrait of a man willing to sacrifice everything for cinema. Consider supporting the podcast on Patreon where you can get access to rewards and extras. Follow me on Facebook, Twitter, Instagram, and Tumblr. Full show notes: Listen to the other films in my series on formative art house films that changed my life: The Passion of Joan of Arc, La Jetée, Cleo from 5 to 7, and L'avventura. Listen to my other episodes about Abbas Kiarostami: The Koker Trilogy, Where Is My Friend's House? , and Taste of Cherry Senses of Cinema article by Mehrnaz Saeed-Vafa about Abbas Kiarostami More information about the Iranian New Wave The Sight and Sound poll that placed Close-Up in the Top 50 Greatest Films of All Time Godfrey Cheshire's essay "Close-Up: Prison and Escape" Read the original article in Sorush Magazine from 1989 that tells the story of Hossein Sabzian. This article inspired Kiarostami to make the film. Listen to my episodes on Krzysztof Kieślowski: The Double Life of Veronique and Dekalog Read the article in Bidoun by Coco Ferguson that details Sabzian's death and his final years More information about the short documentary Close-Up Long Shot

Presentazione della 35a edizione del Torino Film Festival; Ahmad Kiarostami; Cinedeaf, festival internazionale del cinema sordo con Francesca Di Meo

In this episode, I focus on two films and the ways in which they portray friendship and childhood. The first film I talk about is Abbas Kiarostami's 1987 film "Where Is My Friend's House?" The second film I discuss is Mohammad-Ali Talebi's 2000 film "Willow and Wind," which was written by Kiarostami. I discuss the similarities between the movies and how Kiarostami depicts children with great authenticity and warmth. Consider making this podcast sustainable by supporting it on Patreon. Subscribe to the Her Head in Films Newsletter. Follow me on Facebook, Twitter, Instagram, and Tumblr. Original artwork by Dhiyanah Hassan

In this episode, I discuss Abbas Kiarostami's Koker Trilogy, which consists of the films "Where Is My Friend's House?," "Life, and Nothing More," and "Through the Olive Trees." They span the years 1987 to 1994. Film scholars have grouped these films together because they take place in the geographical region of Koker, a village in Northern Iran that was devastated by a 1990 earthquake that killed an estimated 50,000 people. In the trilogy, Kiarostami explores many themes, including friendship and the continuation of life, while also pushing the boundaries of cinema by experimentally blurring the line between fiction and reality, documentary and artifice. Consider making this podcast sustainable by supporting it on Patreon. Subscribe to the Her Head in Films Newsletter. Follow me on Facebook, Twitter, Instagram, and Tumblr. Original artwork by Dhiyanah Hassan

Neil, Dario and guest presenter Mark Jenkin discuss the work of Iranian master Abbas Kiarostami particularly focusing on his 1990 'documentary' Close-Up. Having recently passed away the love and reverence for Kiarostami in the international film community was starkly apparent by the depth and breadth of tributes to him. Having watched many of his films we discuss his legacy, status and the vibrancy of filmmaking from Iran despite the hugely difficult social and political conditions. This episode also features an interview with Iranian Filmmaker Mania Akbari. After collaborating with Kiarostami on Ten as an actress, along with her son, Akbari has gone on to a directorial career of her own, making provocative films (along with art exhibitions) that are expressly feminist in nature tackling issues such as memony, identity, the body and sexuality all with an uncompromising personal underpinning.    Show Notes The Most Fatal Attraction: Kiarostami's Close-up revisited - Coco Ferguson Mania Akbari's Website

PARS radio interviews Ahmad Kiarostami, son of the late critically acclaimed Abbas Kiarostami (Taste of Cherry, Close-Up, among numerous others). They discuss growing up with Abbas and the completion of his father's works left in progress.

Report from our last two days of the Dubai International Film Festival. We discuss Free Fire, Off Frame, Gaza Surf Club, White Sun, The Man Who Saw Too Much, Hedi, Zainab Hates the Snow, Kiarostami double bill - Take Me Home and 76 Minutes and 15 Seconds With Abbas Kiarostami, Hotel Salvation, Certain Women, The Distinguished Citizen, Your Name, plus a couple of short films - Submarine and Shrimp. We also highlight our favourites and stand out films from this festival. http://dubaifilmfest.com/en/7480/all.html

Film Magistery, my film/history podcast is on air! So, what is it about? Film Magistery is a podcast about films and history... but mostly about films. This show wants to explore the films that belong to deeper cinematic experience by talking about a single theme or concept that is related. You can expect to stumble upon films made by Tarkovsky, Kubrick, Allen, Malick, Altman, Coen, Kiarostami, but there should be space for the mainstream cinema, too. The topic of the first episode is Resnais' Night and Fog, a short documentary from 1956. Its theme is Holocaust. Is it still relevant today? Additionally, I talk about whether the humankind has progressed on a cultural level or not? I mention several other genocides in the recent history, especially the one in Bosnia in 1995. Also, watch me make a fool of myself while doing a (fake) Russian accent.   Relevant links:Night and Fog on IMDbNight and Fog on LetterboxdOn Holocaust: US Holocaust Memorial MuseumStenton's 8 stages of genocideRemembering SrebrenicaFollow Film Magistery on Facebook.

Collected here, reviews for the four Abbas Kiarostami films we've discussed on the show over the years. Our first was back in 2009, when then co-host Matty Robinson and Adam took a look at Kiarmostami’s A TASTE OF CHERRY as part of our Cannes Film Fest Winners marathon. Tasha Robinson, friend of the show and current co-host at The Next Picture Show, joined Adam for a review of CERTIFIED COPY in 2011. Then in 2012, Josh and Adam included 1990’s CLOSE UP in their Contemporary Iranian Cinema marathon. And finally, a review of Kiarostami’s final film, LIKE SOMEBODY IN LOVE from 2012. To hear Adam's conversation with film writer Tina Hassannia about the director’s legacy, which he recorded just days after learning of Kiarostami's passing, you can find that in episode 593 at filmspotting.dot. 0:00-0:55 - Intro 0:55-11:31 - "Taste of Cherry" 11:31-28:30 - "Certified Copy" 28:30-41:42 - "Close Up" 41:42-1:01:39 - "Like Someone in Love" Learn more about your ad choices. Visit megaphone.fm/adchoices

Despedimos a Abbas Kiarostami, Michael Cimino y Bud Spencer. Además, comentamos las últimas de Almodóvar y Linklater y recomendamos con ganas The Night Of, serie...

Questa settimana: - Nuova ondata terroristica : da Dacca a madina.- scambio di visita tra intelligenza italo-siriano: inizio dela normalizzazione dei rapporti diplomatici tra Europa e Siria?- L'ISIS rivela per la prima volta le sue strutture organizzative.- Iran: e' morto Kiarostami il poeta del Cinama.

Abbas Kiarostami, born in 1940 in Tehran, turned to filmmaking in 1970 when he helped set up the Institute for Intellectual Development of Children and Young Adults. He had made a half dozen shorts and one feature, The Report in 1977, before the Iranian Revolution changed the public face of his country. While many filmmakers moved away in search of more creative freedom, Kiarostami continued to direct. Around the early 1990s, his films suddenly found an international foothold at festivals via the Koker trilogy and his most famous work, Close-Up. In 1997, he won a Palm D'Or for Taste of Cherry, helping paint the way for Iranian filmmakers to find an audience abroad. His filmmaking only became more cryptic and complex, especially with his early adoption of digital cinema with Ten and the self-reflexive documentary, Ten on Ten. His final films, Certified Copy and Like Someone In Love, were his only made outside his native Iran. Kiarostami passed away on July 4, 2016. In this special episode of the podcast, Amir Soltani, Tina Hassania, and Carson Lund join the podcast to celebrate the life and work of one of the legendary filmmakers to emerge on the world cinema stage. 0:00-2:49 Opening 2:49-46:18 Abbas Kiarostami — Part 1 47:16-52:02 Sponsorship Section 52:48-1:32:07 Abbas Kiarostami — Part 2 1:32:10-1:33:22 Close

If you were paying any attention to the Sundance Film Festival back in January, it’s likely that you caught wind of a film that was being referred to as the ‘Daniel Radcliffe Farting Corpse Movie.’ There were reports of walk outs. Well that movie has an actual title - SWISS ARMY MAN - and it actually does star Daniel Radcliffe as a flatulent corpse. It also stars Paul Dano as a desperate castaway. This week, Adam and guest host Melissa Tamminga from Seattle Screen Scene have a review, and share their Top 5 ‘Body’ Movies. Plus, a conversation with Movie Mezzanine's Tina Hassannia about the legacy of the late Abbas Kiarostami. 0:00-1:15 - Billboard 1:55-28:57 - Review: "Swiss Army Man" Music: Martha "Precarious (Supermaket Song)" 29:43-44:02 - Notes / Massacre Theater 44:02-1:13:54 - Interview: Tina Hassannia on Abbas Kiarostami Music: Martha "Ice Cream and Sunscreen" 1:15:03-2:02:14 - Top 5: 'Body' Movies 2:02:14-2:19:05 - Close / Hot Mics -Melissa at Seattle Screen Scene -Tina Hassannia -Tina's Abbas Kiarostami Appreciation -Women in the Films of Kiarostami -"The Cinema of Abbas Kiarostami" -Godfrey Cheshire on "Close-Up" Learn more about your ad choices. Visit megaphone.fm/adchoices

On today's show, Lady P is joined by CriterionCast contributor, David Blakeslee, and Professor of Islamic History at Penn University/ Film Blogger, Paul M. Cobb to talk Abbas Kiarostami's 1990 film, Close-Up. The Sight and Sound Critic's Poll is littered with works that are about film and/or making films (see 8 1/2, Les Mepris, Sunset Blvd, etc.) It's no wonder then that Close-Up, a film about an impassioned movie enthusiast who cons a family into believing he's a famous director, found its way into the 43rd spot on the Critic's Poll. However, the main draw of Close-Up isn't necessarily it's subject matter, but the way that the subject matter is presented. The film uses elements of both documentary and narrative film-making to deconstruct the artifice of the medium, leaving the audience to question which parts of the film actually happened and which parts were exaggerations or even inventions of the filmmaker. It's always important, when watching a movie, to think about how the filmmakers have shaped the a story, especially when a film goes around calling itself a "documentary". But did our panel actually enjoy Kiarostami's exploration of cinematic manipulation? Listen up to find out. After Close-Up, the panelists turn the lenses on themselves to reveal "The Films That Made Them". They talk about which movies from their childhoods left the greatest impressions, plus which films inspired them to start writing/blogging/podcasting about movies. (Shout-out to Joshua Wilson for inspiring the topic.)

Film scholar Sara Saljoughi discusses the role of women in Kiarostami's oeuvre and the film’s confrontation with "the look" in post-revolutionary Iranian cinema. For more information on TIFF Cinemathque saluting the Iranian master with this deluxe retrospective, check out The Wind Will Carry Us: The Films of Abbas Kiarostami. http://tiff.net/winter2016-cinematheque/the-wind-will-carry-us-the-films-of-abbas-kiarostami

My guest for this month is Neven Mrgan, and he’s joined me to discuss the film he chose for me, the 1997 drama film Taste of Cherry. You can follow the show on Twitter @cinemagadfly. Show notes: Abbas Kiarostami, who directed this film, is probably the most celebrated living Iranian director We are both huge fans of films with an existentialist bent, like this one Seriously, Criterion, upgrade your crappy DVD of this film already. It’s not even anamorphic for crying out loud! If you want to read someone really get it wrong, read Roger Ebert’s thoughts on this film A film that won the Palme d'Or in 1997, and was named to the 2012 Sight & Sound greatest films of all time list Martin Scorsese is also a huge fan of Kiarostami I assume we’re the only podcast to ever compare this film to Disney’s Wall-E, but I suppose you never know This film reminds me of Krzysztof Kieślowski’s Three Colors trilogy, especially Three Colors: Red When we said Apéritif we clearly meant Digestif. Clearly Some of Kiarostami’s other well-known films include Close-Up, Certified Copy, and Like Someone in Love. The last two were made in Italy and Japan respectively I seriously can’t recommend Tony Zhou’s Every Frame a Painting highly enough. Especially his episode on Ensemble Staging, as it relates indirectly to our conversation about what an American remake might do to ruin this film Buy the film from Amazon Watch the film on Hulu

Up beyond the American border, Toronto based critic Tina Hassianna has formed a necessary voice that manages to combine a formal analysis of great works of American and world cinema with one concerned of how they socially operate. That made her a perfect candidate to write the first English language book examining the work of Iranian director Asgahr Farhadi, which has just been released. For her podcast with Peter, Tina talks about her late entry into the world of film, her interest in oddball works like Gus Van Sant's remake of Psycho, and her many thoughts on the cinema of her home country of Iran and what issues are at stake when Western critics analyze these works. Finally, the two turn back to Nora Ephron's You've Got Mail, which Tina and Peter look at as more than just a 90s romantic comedy, but a formally humorous remake that intelligently analyzes how online personas construct truer selves. 0:00-2:20 Opening3:34-8:49 Establishing Shots - Clint Eastwood's American Sniper9:35-57:34 Deep Focus - Tina Hassania58:29-1:00:43 Mubi Sponsorship - You Ain't Seen Nothin' Yet!1:02:09-1:24:04 Double Exposure - You've Got Mail (Nora Ephron)1:24:08-1:26:07 Close / Outtakes

Ce film ne serait pas fait s’il n’avait été précédé d’une enquête journalistique. En confrontant le film au texte qui lui a donné naissance, nous analyserons le regard que porte le cinéaste sur le fait divers et sur le journaliste qui le relate. Et nous verrons comment il définit son activité de metteur en scène par rapport à la fonction et à la pratique du journalisme. Stéphane Goudet

Un maestro venerato dai grandi festival internazionali ed una regista al suo primo lungometraggio sono gli ospiti di questa sera. Abbas Kiarostami ci racconta il suo nuovo film "Qualcuno da amare" (distribuito da Lucky Red) mentre Elisa Fuksas e Diane Flerì sono con noi per "Nina" (Fandango).

Godfrey Chesire has seen it all. From his early experiences with the Westerns of John Ford, to his experience of the 1970s films while abroad in Europe, to the discovery of Chinese and Iranian cinema in the 1990s, Cheshire has remained an essential voice about how to talk and think about cinema in an honest and humanizing way. So Peter is quite excited to take him back through a whirlwind tour of his career, from the alt-weeky The Spectator to the heyday of the New York Press, and through his experiences with Edward Yang and writing about the emergence of digital cinema. The two also discuss his documentary Moving Midway, a film that battles his own personal history and cultural history of the plantation, and end their discussion with Abbas Kiarostami's all-too-fascinating text Close-Up, which they easily declare the Citizen Kane of Iranian film. 0:00-1:27 Opening1:27-4:47 Establishing Shots - Portrait of Jason Kickstarter 5:02-1:01:57 Deep Focus - Godfrey Cheshire 1:03:08-1:30:09 Double Exposure - Close-Up (Abbas Kiarostami) 1:30:11-1:31:50 Close

Cannes 2012: Karsten og Lars Ole ser tre nye filmer fra topp-regissører i Cannes.

We toast with filmmaker Mike Ott. Hopscotch and Sound Virus. Firsts. Handheld Heart. Little Rock on KINO. Hop Louis. CORY! Exploimentary. JC or USC? Films are Fun and other things your gramma says. Learning more from Teaching. Art school entitlement. Stakes is High. Shit gets harder. Writing real life onto film on the fly. Star actor with no web access. Valencia's economy built on Magic Mountain and Wendy's? Analog Deserts: Palmdale and Riverside. On location, you still gotta jump some fences. A case of Mad Dog for Cory. Favorite Magnetic Fields songs. Warren Beatty is a pussy. A Filth song come to life. Louis Theroux. "Our milieu of whatever this is we're in to." No more booze on set. The small desert town where everyone waits for the ball to drop. Herzog.