Very interesting
This film has been named as one of the seminal films of the "Iranian new wave". I saw it in a Finnish cinematheque as part of an Iranian theme series. It was surprisingly fresh and strong even after more than 40 years.
The director's style resembles very much Bresson. He is not interested in psychological realism, but rather shows gestures which are both ritual and mundane. The lack of emotions between the characters in striking, but never overstated, and towards the end the film seems to become a cinematic essay on the impossibility of human relationships.
Every frame in this film in carefully planned. The small village, Caspian shores, barroom interiors - all this is as important as the inner life of the characters. It's clear that the role of the scenery has influenced Kiarostami a lot. The film leaves an intense afterglow, perplexing with it's matter- of-fact view upon life and death.
The director's style resembles very much Bresson. He is not interested in psychological realism, but rather shows gestures which are both ritual and mundane. The lack of emotions between the characters in striking, but never overstated, and towards the end the film seems to become a cinematic essay on the impossibility of human relationships.
Every frame in this film in carefully planned. The small village, Caspian shores, barroom interiors - all this is as important as the inner life of the characters. It's clear that the role of the scenery has influenced Kiarostami a lot. The film leaves an intense afterglow, perplexing with it's matter- of-fact view upon life and death.
- mikko_viljanen
- Feb 15, 2016