Close-Up

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.

Nothing short of a masterpiece. Not for everyone's tastes. Discerning viewers tired of all the Hollywood tripe should definitely check out this low key but highly accomplished work about the amorphous quality of identity and the untrustworthy nature of celebrity. A film that will grow more and more important as the years go by.

The film's limited production values may turn off even the most discerning of viewers. Don't fear. It's just one of the many refreshing aspects about Kiarostami's "Close Up."

One of the best films of the nineties that people have never seen according to the stats here at IMDb.

Ten out of Ten.

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.

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!