Et la vie continue

There is a long intro before the title. A film director and his son are shown driving in a small beat-up car to northern Iran soon after the 1990 earthquake. When the car enters a long tunnel, the camera keeps rolling and on the darken screen the titles finally appear.

The film director is nominally Kiarostami, but played by an actor. Typical for his films, the documentary genre blurs with the fictional account. The devastation that we see from the moving car is real, though the lamentations we witness are probably staged, which does not diminish the sense of suffering of the affected local communities.

The impetus of this travelogue through a torn landscape is to locate at least one of the kids that was his main character in one of his previous films, "Khaneh-je doost kojast?". That quest is the director's central preoccupation, so much so he does not recognize another boy, who he gives a lift to, that had a secondary role in that film. If you see the aforementioned film, you will clearly remember the face.

The quest is made difficult by roads that have been gutted or blocked by rock and earth slides, and by the steep mountainous terrain of his goal, the small town of Koker. As he gets tantalizing close, we root for him.

The way the film ends may be disappointing to some, but I found that it matched the title of the film, "And Life Goes On". For the survivors of the earthquake there is mourning for the dead, but at the same time the 1990 World Soccer Cup is going on. What team will make it to the final? While houses have to be rebuilt, it is also important that TV antennas be lifted so that all can see the games in the evening. The director will make more films but now he is concerned about the well-being of that child actor. So life goes on, the quest must go on. There is no ending.

This is the second film in a trilogy. The first one (Where Is My Friend's Home") involved a kid searching for his classmate's house to return a notebook (to save him from the wrath of his teacher). A charming little film.

This one is a faux documentary that follows the director's attempt to find the two boys after the devastating 1990 earthquake. It is leisurely paced (though I would never say it is "dull") but the earthquake scenes are powerful and beautiful. The director's quest is absorbing and he and his son are a likable duo. Also there are some surprising philosophical and comedic interludes.

I would recommend this film highly whether or not you have seen the first.

If I hadn't read a review or two this movie before watching, i would have been convinced this was a documentary. But it's not. It's a piece of fiction which comes across as a documentary. I am thinking of Orson Welles "War of the worlds" "After the 1990 earthquake in Iran that killed over 30,000 people, Kiarostami went to search for the stars of his previous film Where Is the Friend's Home?. This film is a semi-fictional work based on these events, shot in a documentary-style. It shows a director (played by Farhad Kheradmand) on this journey through the country in the aftermath of the earthquake." The movie puzzled me. Is the main actor a professional among amateurs? The acting (and I guess it is acting) doesn't come across as acting. My favourite moment comes in a sequence during which the lead speaks to two young girls doing their laundry in the open. That's because both of their houses have been destroyed due to the disaster. One of the girls seems more timid than the other. For a few moments there is a shy smile on her face. Is that acting? Looking forward to seeing more of this directors work.

Life and Nothing More (1992, dir. Abbas Kiarostami) What is so unusual about Kiarostami's films? They seem to to inhabit a world that is so ordinary, mundane even, and yet they are lent a sense of wonder as well. The simplicity of action and story is undermined by circumstances that reveal the courage that it takes just in order to live. Here a man and his son are driving to Koker, a town which has been devastated by the Iranian earthquake. Along the way they come across people who are carrying their belongings, food supplies, heaters, etc. after having lost everything. They stop to ask for directions. One woman can't help them, breaks out in tears, "I've lost 16 people" The man can only say, "May god grant you forbearance." There is no easy sentimentalism. Here life goes on for those that survive in spite of it all. There is still the need to fill ones life with love and joy and momentary pleasure. One man talks of his plan to get married in his hometown, despite the disaster. The son talks to his friend about watching a soccer game. He becomes terrifically excited by the building of an antenna at one of the nearby villages which will allow him to watch the game. You see none of the horrific footage of mangled bodies and uncontrollably hysterical victims that we usually associate with natural disasters. You only see people who have experienced tragedy, but continue to live and endure.

Whilst watching this film i was struck by how natural and simplistic the film was. A film director and his son travel through Iran after an earthquake has struck to try and see if the boy who starred in his last film is still alive. That is what the film is, observing people on the road, whose lives have been destroyed, people whose lives still go on. Kiarostami presents life in such a naturalistic way that we are sitting in the back seat of the car taking the journey as well. That is the perfection of the this film, the real life, the carnage of life, the people striving for life, all add up to one up-lifting experience. Like Rossellini with a uplifting finale, and minus the melodrama. Kiarostami seeks to capture reality on film in a similar way as the Neo-realists, through humanity and observation, but while the Neo-realists films can be seen as natural, Kiarostami reinvents naturalism as if nature had shot the film itself. Yet another piece of perfection from Kiarostami, not to be missed.