Extraordinary docu-fictive filmmaking by Kiarostami as the second part of his ‘Koker’ trilogy brings us to the aftermath of the devastating 1990 Manjil-Rudbar earthquake via a skillfully deceptive meta-cinematic device.
We follow a young schoolboy’s a-day-in-the-life journey in Kiarostami’s simple yet resonating breakthrough film.
Kiarostami leaves us with a work of indelible beauty, continuing his fascination with the phenomenology of cinema and its relation to the ephemeral.
Shot in Japan with a Japanese cast, Iranian master Kiarostami gives us a rueful but tender film about the nature of love, desire and liking.
Kiarostami’s first non-Iranian film is engaging, but the male lead is unable to hold his own against Juliette Binoche.
Plainfully simple yet thematically complex, this slow and bleak feature remains to be one of Kiarostami’s most profoundly engaging works.
A transcendent masterpiece that reveals intricate thematic complexities and showcases Kiarostami’s brilliance upon a closer and critical examination.
A neorealist-inspired first feature by Kiarostami, charting his path to become one of cinema’s foremost chroniclers of the human condition.
