Nema-ye nazdik

Truly the best, freshest, most truly independent cinema is coming from Iran - or at least was in the nineties. Time will tell. My favourite is "Salaam Cinema", a film I would love to see again. This film, from Iran's Goddard (I spose you'd call him) Abbas Kiarostami is in the docu-drama tradition. It uses the real people who took part in the real events portrayed in the movie, it uses a documentary style, but it is a film - not a documentary. I feel you could add, but is it not a documentary? Because at times, you just don't know. A truly great film because it really sucks you in, time passes, I have no idea how long it ran because it was over too soon. Magic!

One day on a bus, an out of work father of two is mistaken for Mohsen Makhmalbaf, a famous Iranian filmmaker. He carries through with the ruse until he gets caught, and the family takes him to court, accusing him of fraud. The story is told through layers of flashback and shifting points of view. The look of the film is just as dynamic, using all sorts of film techniques - handheld, grainy 16 mm stock, the subtle use of shifting focus, and the all important close-up.

People tend to say that Abbas Kiarostami's style is a dead-crawl pace coupled with dry documentary images, but I've found his films to be wonderfully unravelling puzzles, full of frustrations and moments of perfect understanding. At times I think the key to Kiarostami's work is to simply earn it - the film may seem hard at first, you might be lost in the story, but don't give up! If you hang in there, you'll be rewarded with an unforgettable ending, like the one here in Close-up.

Close-up tells the true story of a man arrested for impersonating Iranian director Mohsen Makhmalbaf. The film is a joy made up of mostly real footage of the trial and interviews with all involved, and also re-enactments of real events by the actual people involved. The film comes across as a portrait of a film-lover, as Hossain Sabzian defends his reasons for his impersonation in court with Kiarostami as the judge (literally) and the audience as jury, praying for a light sentence for Sabzian. Sabzian comes across as a screen legend, his innocence draws us to identify with him, a sweet man with a passion for films and family. Close-up literally bursts with originality, breaking the line between documentary and fiction with fantastic innovation, whilst still remaining light-hearted, humorous and easy viewing for anyone.

Blurring the line between what's real & what's reconstructed from scratch, Close-Up is truly unique in what it pulls off over the course of its runtime and is an incredibly original, meditative & masterly constructed example of experimental filmmaking that offers an interesting glimpse into the psyche of a complicated man while showcasing the power of cinema itself.

Set in Iran, Close-Up covers the real-life trial of a cinephile who impersonated an acclaimed Iranian filmmaker and successfully conned a wealthy family in Tehran into believing that they would star in his new feature, that is until his luck ran out. The plot captures the ensuing trial that's filmed by the crew as it transpires in the courthouse while interspersed within those images are reenactments of the case.

Directed by Abbas Kiarostami, Close-Up marks my first stint with his works & what instantly caught my attention was the opening credits that showed every cast member to be playing themselves, an unusually surprising move. Kiarostami's direction deserves kudos for he manages to erase the line that differentiates reality from fiction by using same individuals who were involved in the real-life scene to reenact the earlier events.

What's also striking is that the reconstructed segments retain the raw, crude & untainted quality of recorded footage, while everything that unfolds in the courthouse is not a result of any rehearsed wordplay. Although the confession of the accused gives us a peek into his complex persona as well as his thought process, it also elegantly exposes the existing divide between the rich & the poor in Iranian society.

Throughout the trial, Kiarostami tries to get the perpetrator's side of the story on the camera and while there are times that make you wonder if he's still staging an act or is being honest, some of the things said by him do reflect a bitter truth about the society we live in, like when he talks about the love, respect & hospitality he received from the family when he pretended to be someone else, something he never would've experienced otherwise.

It's not that you can't differentiate between what's real & what's reenacted in Close-Up but the way its entire plot is executed, it makes you forget that deception & allows you experience it for what it is. Cinematography makes splendid use of the camera which is brilliantly utilised for long unbroken takes, hidden recordings, fixed smooth pans & fluid movements while Editing cleverly arranges the different segments into one consistently engaging narrative.

On an overall scale, Close-Up is an expertly crafted docufiction about human identity and captures it in its most natural form. Real-life can be just as full of drama & spices as any story brought to life on a film canvas and both forms inspire one another more often than usual. Although regarded by many to be one of modern cinema's greatest works, Close-Up didn't enthral me enough to join that particular crowd but I do admire its uniqueness, originality & honesty. Definitely recommended.

Not the usual Kiarostami movie, this is a half documentary, half reenactment by the actual people who were involved! That alone makes it a very unique movie.

While the story was unfolding, Kiarostami found out about it through a magazine article and as luck would have it, he was all geared up to make a movie (Pocket Money) but he decided to talk the executive producer into making this movie! It's shot in 40 days and all the events that happen after Kiarostami started to make the movie are a documentary, and all the events that had happened before are reenacted by the original people after the fact.

The movie works much better if one is familiar with Iranian cinema and particularly with Kiarostami and Makhmalbaaf (an equally famous, some would even say "the other" Iranian director who is not just the subject of this film but also appears in it as himself!) The documentary also gives a rare look inside the typical post revolution Iranian court system. Much of what people know about the Iranian judicial system has to do with high profile political cases which are very different than the overwhelming majority of cases that are about everyday legal problems that would typically not make the international news! In fact, when Kiarostami is trying to get the judge's permission to film the court room events, the judge tries to convince him to pick another trial, something more interesting!something having to do with a much bigger crime! Kiarostami has to explain to the judge that it is this particular case (having to do with Makhmalbaaf and cinema) that he's interested in! During the actual court proceedings, Kiarostami, with the judge's approving smiles, occasionally interjects and asks for more details and explanations! And some of the finest parts of the movie are the exchanges that take place during the trial between Kiarostami and the accused. When the accused mentions that he has finally realized that he is the "traveler" (a 1974 Kiarostami movie) Kiarostami is somewhat caught off guard! Many have suggested that the movie is a profound statement about the loss and the subsequent search for identity by an entire nation after a revolution. To his credit, in an interview recorded much later, Kiarostami claimed that although he agrees with that interpretation, he wasn't aware of it while he was making the movie! It is unusual for a director to pass up an interpretation like that as not having been part of his original vision! artistic integrity like that is truly a rarity, but then again, that's what makes Kiarostami the unique director that he is and why Kirosawa considered him the finest at his craft! In short, not your usual Kiarostami movie, yet for my money, an absolute treat. Here's a movie that engages the audience completely without a single car chase, without a single shot being fired, no aliens, no UFOs, no bad guys, no good guys, and it goes without saying that no one falls in love, let alone sex and cheating and the rest of what makes up 95% of the movies today! Yet, without using any of these standard tricks of the trade, Kiarostami keeps his audience glued to the screen from the first to the very last frame! At the end, I tend to agree with the great Kirosawa. Kiarostami has come pretty close to perfecting his craft!