Abbas Kiarostami
Abbas Kiarostami: A Cinematic Luminary
Full Name and Common Aliases
Full Name: Abbas Kiarostami
Common Aliases: Often referred to simply as Kiarostami, he is a towering figure in the world of cinema, known for his unique storytelling and profound impact on the film industry.
Birth and Death Dates
Born: June 22, 1940
Died: July 4, 2016
Nationality and Profession(s)
Nationality: Iranian
Profession(s): Film Director, Screenwriter, Photographer, Producer, and Poet
Early Life and Background
Abbas Kiarostami was born in Tehran, Iran, into a middle-class family. From a young age, he exhibited a keen interest in the arts, particularly painting and drawing. This early passion for visual expression laid the foundation for his future career in filmmaking. Kiarostami attended the University of Tehran, where he studied fine arts, further honing his artistic skills. His early career was marked by work in graphic design and advertising, which provided him with a strong visual sensibility that would later become a hallmark of his films.
Major Accomplishments
Kiarostami's career in cinema began in the 1970s when he joined the Institute for the Intellectual Development of Children and Young Adults in Iran. It was here that he directed his first short films, which quickly garnered attention for their innovative style and depth. His breakthrough came with the 1987 film "Where Is the Friend's House?", which was celebrated for its simplicity and profound humanism. This film marked the beginning of what would be known as the Koker Trilogy, a series of films that explored themes of life, death, and the human condition.
Kiarostami's work gained international acclaim with the release of "Close-Up" in 1990, a film that blurred the lines between documentary and fiction. His 1997 film "Taste of Cherry" won the prestigious Palme d'Or at the Cannes Film Festival, solidifying his status as a master filmmaker. Throughout his career, Kiarostami received numerous awards and honors, including the Akira Kurosawa Award for lifetime achievement in directing.
Notable Works or Actions
Abbas Kiarostami's filmography is rich with works that challenge conventional storytelling and explore existential themes. Notable films include "The Wind Will Carry Us" (1999), which examines the intersection of tradition and modernity in rural Iran, and "Certified Copy" (2010), a film that delves into the complexities of human relationships and perception. His films are characterized by their minimalist style, long takes, and use of non-professional actors, which lend an authenticity and intimacy to his storytelling.
In addition to his work in film, Kiarostami was an accomplished photographer and poet. His photography often focused on landscapes and nature, capturing the beauty and simplicity of the world around him. His poetry, much like his films, was marked by a deep philosophical inquiry and a profound appreciation for the subtleties of life.
Impact and Legacy
Abbas Kiarostami's impact on the world of cinema is immeasurable. He is credited with bringing Iranian cinema to the global stage, inspiring a new generation of filmmakers with his innovative approach to storytelling. His films are studied in film schools around the world for their narrative structure, visual style, and thematic depth. Kiarostami's influence extends beyond cinema; his work has been celebrated in art galleries and literary circles, reflecting his multifaceted talent and vision.
Why They Are Widely Quoted or Remembered
Abbas Kiarostami is widely quoted and remembered for his profound insights into the human experience and his ability to capture the beauty and complexity of life through film. His quotes often reflect his philosophical outlook and his belief in the power of simplicity and authenticity. Kiarostami's work continues to resonate with audiences and filmmakers alike, serving as a testament to his enduring legacy as a visionary artist. His films and words invite viewers to reflect on their own lives and the world around them, making him a timeless figure in the arts.
In conclusion, Abbas Kiarostami's contributions to cinema and the arts have left an indelible mark on the world. His unique voice and vision continue to inspire and challenge audiences, ensuring that his legacy will endure for generations to come.
Quotes by Abbas Kiarostami
Abbas Kiarostami's insights on:
I really think that I don't mind people sleeping during my films, because I know that some very good films might prepare you for sleeping or falling asleep or snoozing. It's not to be taken badly at all. This is something I really mean.
When I met Akira Kurosawa in Japan, one question he asked me was, “How did you actually make the children act the way they do? I do have children in my films but I find that I reduce and reduce their presence until I have to get rid of them because there’s no way that I can direct them.”
I wasn’t searching for a common denominator – I started wondering about the challenge of working in other cultures. What I reached was the sudden acknowledgment of the universal aspect of filmmaking.
I do think that we are sometimes, as directors, guilty of portraying or asking our actors to behave in certain ways that are perhaps not very morally acceptable. I’m not the only one.
I really think that I don’t mind people sleeping during my films, because I know that some very good films might prepare you for sleeping or falling asleep or snoozing. It’s not to be taken badly at all.
In my experience as a director, I think there is obviously something of the way men – maybe that’s a common point with Shirin – the way men see women in the film, and the way these two characters see each other.
I can only display what I’ve been nurtured with, which is this worldview which has become my view. If I displayed anything different from it in my work, I wouldn’t deserve this heritage.
When we start shooting I don’t have rehearsals with characters at all. So, rather than pulling them towards myself, I travel closer to them; it’s very much closer to the real person than anything I try to create. So I give them something but I also take from them.
I don’t generally derive my stories from novels. I try to turn into film things I have felt or experienced.