Showing: abbas kiarostami  
10 on Ten

A cinematic master-class in which Iranian director Abbas Kiarostami discusses his filmmaking in relation to his 2002 film Ten.

Abbas Kiarostami Iran, 2004
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24 Frames

For what would prove to be his final film, Iranian director Abbas Kiarostami gave himself a challenge: to create a dialogue between his work as a filmmaker and his work as a photographer, bridging the two art forms to which he had dedicated his life.

Abbas Kiarostami Iran, 2017
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Abbas Kiarostami: A Retrospective

Janus Films is proud to present a touring retrospective spanning Abbas Kiarostami’s nearly five-decade career. This series includes new restorations, undertaken by the Criterion Collection and MK2, of The Koker Trilogy, Taste of Cherry, The Wind Will Carry Us, and rarely screened shorts and documentaries.

Abbas Kiarostami Iran, 2019
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ABC Africa

In 2000, Kiarostami traveled to Africa at the request of the United Nations to document a humanitarian crisis unfolding in Uganda, where 1.5 million children had been orphaned by civil war and AIDS.

Abbas Kiarostami Iran, 2001
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And Life Goes On

In the aftermath of a 1990 earthquake that left 30,000 dead, Kiarostami returned to the village of Koker where his camera surveys not only the devastation but the teeming life that continues in its wake.

Abbas Kiarostami Iran, 1992
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The Bread and Alley

“The mother of all my films,” according to Abbas Kiarostami, starts out as a breezily observed anecdote about a boy wending his way home through Tehran alleys carrying a loaf of bread.

Abbas Kiarostami Iran, 1970
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Disciplined at school for breaking a window, a boy joins throngs of his schoolmates as they make a cacophonous exit into Tehran’s streets.

Abbas Kiarostami Iran, 1972

The Chorus

An old man strolls through the noisy streets of Rasht, and when his hearing aid is knocked out of his ear, the film’s sound goes off, mimicking the silence that envelops him.

Abbas Kiarostami 1982


Internationally revered Iranian filmmaker Abbas Kiarostami has created some of the most inventive and transcendent cinema of the past thirty years, and the fiction-documentary hybrid Close-up is his most radical, brilliant work.

Abbas Kiarostami Iran, 1990
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The Colors

Ostensibly also a film for children, this picture-book essay about the range of hues that brighten our world has the air of a delightfully playful formalistic exercise.

Abbas Kiarostami Iran, 1976


Based on a story by Amir Naderi, who also cowrote the film, this slice of a fourteen-year-old boy’s life follows his efforts to fend for himself in the big city, working as a tea server and assistant in a photographer’s studio, running errands, and, briefly, exchanging glances with a pretty middle-class girl.

Abbas Kiarostami Iran, 1973

Fellow Citizen

Kiarostami’s fascination with both Tehrani car culture and the uses of power in postrevolutionary society combine in this documentary about a traffic officer assigned to enforce driving restrictions in central Tehran (a locale near the director’s office at Kanoon).

Abbas Kiarostami Iran, 1983

First Case, Second Case

Made in the spring of 1979, not long after the shah’s overthrow, this extraordinary film serves as a Rorschach blot for people in a revolutionary mind-set.

Abbas Kiarostami Iran, 1979

First Graders

Inspired by his work at Kanoon and his own sons’ schooling, the first of Kiarostami’s two documentary features about education looks in on a schoolyard of chanting, playful boys but mainly transpires in the office of a supervisor who has to deal with latecomers and discipline problems.

Abbas Kiarostami Iran, 1984

Five Dedicated to Ozu

A piece of driftwood on the seashore, carried about by the waves...

Abbas Kiarostami Iran, 2003
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In Kiarostami’s second documentary feature about education, the filmmaker himself asks the questions, probing a succession of invariably cute first- and second-graders about their home situations and the schoolwork they must do there

Abbas Kiarostami Iran, 1989

How to Make Use of Leisure Time

Evidently the first installment in a series that didn’t continue, this instructional film shows idle twelve- and sixteen-year-old brothers learning how to improve their surroundings by painting an old door.

Abbas Kiarostami Iran, 1977

Orderly or Disorderly

The first shot shows students descending a staircase in calm, orderly fashion, then the second details the same action as a chaotic rush.

Abbas Kiarostami Iran, 1981

The Report

The rare early Kiarostami film made outside of Kanoon, and one of the most downbeat of his features, this adult drama concerns a civil servant besieged on two fronts: he’s accused of taking bribes, and his marriage is collapsing (Kiarostami has admitted this latter element was autobiographical).

Abbas Kiarostami Iran, 1977


The rare Kanoon film that doesn’t involve children, this unusual road movie was made during the revolution and afforded Kiarostami what may have been a welcome escape from the capital.

Abbas Kiarostami Iran, 1978


One of Kiarostami’s most daring formal experiments turns the camera on the audience.

Abbas Kiarostami 2008
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So Can I

The first of Kiarostami’s films made for, rather than about, children was an experiment in combining live action and animation, done in collaboration with animator Nafiseh Riahi.

Abbas Kiarostami Iran, 1975

Taste of Cherry

Middle-aged Mr. Badii drives through the hilly outskirts of Tehran, searching for someone to rescue or bury him, in Iranian auteur Abbas Kiarostami’s emotionally complex meditation on life and death.

Abbas Kiarostami Iran, 1997
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As she roams the streets of Tehran in her car, a recently divorced woman (Mania Akbari) chauffeurs a rotating cast of passengers, from her combative young son to a heartbroken wife abandoned by her husband to a defiant young sex worker going about her job.

Abbas Kiarostami Iran, 2002
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The Wind Will Carry Us

A TV crew from Tehran arrives in a remote Kurdish village to film an unusual funeral ceremony but are stymied when the old woman they expect to die clings to life.

Abbas Kiarostami Iran, 1999
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Through the Olive Trees

Kiarostami takes meta-narrative gamesmanship to masterful new heights in the final installment of his celebrated Koker trilogy.

Abbas Kiarostami Iran, 1994
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Though much of this film is a straightforward lecture about dental hygiene delivered by a dentist facing the camera, it still manages to be persuasively Kiarostami-esque in its description of young Mohammad-Reza’s life at home and school before he falls prey to tooth woes.

Abbas Kiarostami Iran, 1980

The Traveler

Kiarostami’s first feature focuses on a boy in a provincial city so avid to get to Tehran to see a soccer match that he’ll lie to adults and cheat other kids.

Abbas Kiarostami Iran, 1974

Tribute to Teachers

An assignment from the Ministry of Education, this documentary from the last years of the Pahlavi dynasty includes interviews with officials who predictably praise teaching as a sacred, noble, and honorable profession.

Abbas Kiarostami Iran, 1977

Two Solutions for One Problem

This simple moral tale seems to prefigure Where Is the Friend’s House? Two young schoolboys, Dara and Nader, are friends until Dara returns Nader’s notebook torn and Nader retaliates in kind, setting off an escalating battle that leads to destruction of property and physical injury.

Abbas Kiarostami Iran, 1975

A Wedding Suit

In a trilevel shopping arcade, a teenage boy who works for a tailor is besieged by two other boys who want to borrow a new suit to wear on a social outing before it’s turned over to its owner.

Abbas Kiarostami Iran, 1976

Where Is the Friend’s House?

The first film in Abbas Kiarostami’s sublime, interlacing trilogy of films set in the northern Iranian village of Koker takes a premise of fable-like simplicity—a boy searches for the home of his classmate whose school notebook he has accidentally taken—and transforms it into a miraculous, child’s-eye adventure of the everyday.

Abbas Kiarostami Iran, 1987
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