Abbas Kiarostami

Abbas Kiarostami عباسکیارستمی|Abbās Kiārostami| audio-f=Fa-f-عباسکیارستمی.ogg is a Réalisateur, producing Scénariste and of Iranian Cinéma born in 1940 with Teheran, Iran.

In the cinema world since the Years 1970, Kiarostami signs more than forty films of which short films, documentary S or of the dramatic films. Did criticism mainly rent it for works such as the trilogy of the earthquake ( Where is the house of my friend? in 1987, And the life continues in 1991 and Through the olive-trees in 1994), or the Taste of the cherry in 1997 and the wind will carry us in 1999.

Abbas Kiarostami invests himself as scenario writer, Monteur, Director artistic, producer but especially as a realizer. Before turning to the cinema a little later, it begins by producing cartoons, credits and advertizing media. It is also Poète, Photographe, painter, illustrator and draftsman graphic designer.

Kiarostami is one of the realizers of the Iranian New wave ( Cinemay-e motafavet or “ different cinema ”), a movement of the Iranian Cinéma which starts towards the end of the Années 1960 and includes the precursors Forough Farrokhzad, Sohrab Shahid Saless, Bahram Beizai and Parviz Kimiavi. These realizers have many joint techniques, of which the use of the poetic dialog and the allegorical narration to treat the political and philosophical sequences.

Kiarostami is known to film the children like documentary film protagonists with narrative style, like for innovations in terms of realization. It uses contemporary Iranian poetry in the dialogs, the titles and the topics of its films.

Life and career

Youth and formation

Kiarostami was born with Teheran the June 22nd 1940. Interested by art and the cinema as of its childhood, it gains a contest of painting at eighteen years, before making its studies with the faculty of the Art schools of the Université of Teheran. It finances part of its studies while working as a agent of the circulation. In the Years 1960, as painter, originator and illustrator, Kiarostami works in publicity. It designs posters and creates advertizing films. Between 1962 and 1966, it turns approximately 150 advertisements for Iranian television. Towards the end of the year 1960, it starts to create credits for films (of which Gheysar of Massoud Kimiaei) and to illustrate books for children.

In 1969 begins the Iranian New wave with film from Dariush Mehrjui the Cow (Gav) . The same year, under the influence of Firuz Shivanlu, Kiarostami takes part with Ebrahim Forouzesh in the creation of a department realization in the Institut for the Intellectual Development of the Children and the Young Adults of Teheran (the Kanun ), which in the beginning was dedicated to the publication of books for children. This institute was created under the impulse of the Pahlavi, which thus proposed a creative discharge system with Iranian youth in order to divert it political activities. The Kanun is then one of the two public structures of production of films in Iran. It will become one of the high places of the development of a cinematographic modernity to the Iranian woman according to Agnès Devictor. Hamid Dabashi, professor of Iranian studies to the University Columbia, explains that, in spite of the political situation of Iran, Kiarostami had different creative concerns:

Kiarostami sought to read again reality starting from a clean slate which would again return direction in the world and confidence in this one

The first realization of Kiarostami for the cinema is a twelve minute old film in black and white, the Bread and the Street (Nan goes koutcheh) (1970), a Short film neorealist about the confrontation of an unhappy schoolboy and an aggressive dog, carried out at the request of a friend for his project of movie studio for children. the Recreation (Zang-e tafrih) follows in 1972.

The department realization, which allows Kiarostami to carry out its first short films, ends up becoming one of the cinematographic studios most famous of Iran, producing not only films of Kiarostami, but also of the Iranian films appreciated such the Runner (Amir Naderi, 1985) and Bashu, the small foreigner (Bahram Beyzai, 1986).}}

In the Years 1970, actor of the Iranian cinematographic rebirth, Abbas Kiarostami follows an individual model of the realization}}

After Experiment , in 1973, Kiarostami carry out the Passenger (Mosafer) in 1974. the Passenger tells the history of Hassan Darabi, a ten year old boy, difficult and amoral, alive in a small town of Iran. It wishes to see the national team of football playing an important match with Teheran. To arrive there, it swindles his friends and of the neighbors. After many adventures, it reaches finally the Stade Azadi per hour of the match. This film treats determination of a boy in his intention and his indifference with the effects of its actions on the others; in particular those which are closest to him. The film is an examination of the human behavior and balance of the good and evil. It contributes to the reputation of realism, diegetic simplicity , and stylistic complexity of Kiarostami. He as testifies to his taste for the voyages, as well material as spiritual.

In 1975, Kiarostami directs court-measurings Me also I can (Man ham mitounam) and Two solutions to a problem (Dow rahehal baraye yek massaleh) . Beginning 1976, it carries out Couleurs (Rangha) , followed film some 54 minute old, the Costume of marriage (Lebassi baraye aroussi) reporting the adventure of three teenagers entering in conflict in connection with a costume of marriage. The first Feature-length film of Kiarostami is, in 1977, the Report/ratio (Gozaresh) , one 112 minutes duration. The subject is the life of a perceiving shown Corruption; inter alia topics, the film tackles the question of the Suicide. During this same year, it turns two other short films: How to use its spare time? (Az Oghat-e Faraghat-e Khod Chegouneh Estefadeh Konim?) and Homage to the professors (Bozorgdasht-e Mo' allem) . In 1979, it produces and directs Cas number one, case number two (Ghazieh-e shekl-e avval, ghazieh-e shekl-e dovvom) .

After the Iranian revolution

After the Iranian Revolution in 1979, the Iranian State, transformed into Islamic Republic, seeks to Islamize the social order. This objective will have effects on the Iranian Cinéma: the new leaders of the country then seek to create a single national kind, a cinema “pure” and removed of all “vulgarity” and any bond in the Occident}}

At the beginning of the the Eighties, Kiarostami directs several court-measurings of which dental Hygiène (Behdasht-e dandan) (1980), With or without order (Be tartib ya bedun-e tartib) (1981), the Chorus (Hamsarayan) (1982) or the Fellow-citizen (Hamshahri) (1983). The majority of these films are carried out within the Kanun , which survives the revolution thanks to its dynamism and its independence according to Agnès Devictor.

In 1987, Kiarostami contributes to the scenario of the Key (Kelid) which it assembles but does not direct. In 1989, it carries out Devoirs of the evening (Mashgh-e Shab) .

Where is the house of my friend? and the following films And the life continues (Zendegi goes digar hich) , in 1992, then Through the olive-trees (Zir-e derakhtan zeytoun) in 1994, is indicated as being the Trilogie of Koker by the critic film . Indeed, these three films put in the high-speed motorboat the village of Koker, in the north of Iran. The films are in connection with the earthquake of 1990. Kiarostami employs the topics of the life, death, the change, and continuity to connect films. The trilogy gains a sharp success in France in the the Nineties like in other countries like the Netherlands, the Sweden, the Germany and the Finland. Kiarostami itself does not regard these three films as a trilogy. It suggests rather than the trilogy is formed of the last two titles and the film the Taste of the cherry (Your' me gilas) (1997). These three films have a common topic indeed, the invaluable character of the life, in particular in the “face-to-face discussion between the life and death” (according to its own terms).

International recognition

During the the Nineties, the cinema of Kiarostami has the virtues of a diplomatic tool: its films introduced in Occident a new vision of the Iran, different from the media stereotypes. But the Iranian State rejects its films, considering them “insufficiently Islamic”, though institutional reprobation is made difficult by the growing fame of the realizer. the Taste of the cherry , for example, is censured during a few times in Iran. But the film is authorized the day before handing-over of the prize list of the Cannes festival where Abbas Kiarostami will receive the Palme of gold (the State will manage all the same to impose modifications on Kiarostami, by forcing it has to replace a piece of Louis Armstrong of the band its by traditional music).

In 1990, Kiarostami directs Closed-Up (Close-up) . This film reports the true story of a man who is made pass for the realizer Mohsen Makhmalbaf. Impostor deceives a family while making accept his members who they will be the high-speed motorboats of his future feature-length film. The family supposes that the flight is the reason for this misdeed, but impostor, Hossein Sabzian, claim that its Motivation was more complex. The film, mid- documentary, semi-fiction, examines the moral justification of Sabzian to usurp the identity of Makhmalbaf. The defense of Hossein Sabzian seems difficult to include/understand if the spectator does not share his passion for the Art as a cultural and intellectual emancipator. Closed-Up receives the praises of realizers such as Quentin Tarantino, Martin Scorsese, Werner Herzog, Jean-Luc Godard and Nanni Moretti.

In 1991, Kiarostami carries out And the life continues (Zendegi goes digar hich) regarded by critics as second film of the trilogy of the earthquake or Trilogie of Koker . Does the film follow a father and his young person wire during their voyage of Teheran to Koker to the research of the two young boys (who held the first roles in film of 1987, Where is the house of my friend? ), fearing that they lost the life in the earthquake of 1990. While they travel in a devastated landscape, they meet constrained survivors of the seism to survive in the middle of the tragedy. This year, Kiarostami gains the Price Roberto Rossellini as a Réalisateur; it is the first cinematographic professional reward of its career. The last film of the Trilogie of Koker is entitled Through the olive-trees (Zir-e derakhtan zeytoun) , in 1994. One of the secondary scenes of And the life continues becomes the central drama of this film.

Adrian Martin, film critic, describe as “graph” the style of realization of the Trilogie of Koker . This graphic style associates the forms undulating in the landscape and the geometry of the forces of the life and the world. In And the life continues (1992), a flashback of the way in zigzag starts at the spectator the memory of preceding film, Where is the house of my friend? , of 1987, carried out before the earthquake. This effect, in its turn, symbolically connects to the post-seismic rebuilding Through the olive-trees in 1994.

With the turning of the film Through the olive-trees (préacheté by Ciby 2000, a subsidiary company of Bouygues), Abbas Kiarostami launches out in the international coproduction. Starting from the end of the year 1990, Marine Karmitz (MK2), owner and distributer, becomes the main actor of the coproduction in Iran, and coproduit of films of Kiarostami or Mohsen Makhmalbaf. The notoriety of Kiarostami grows with the prestigious rewards which are decreed to him at the time of international festivals.

Kiarostami writes then the Scénario S of the Voyage (Safar) and the white Balloon (Badkonak-e sefid) (1995), for its former assistant, Jafar Panahi, and the responsibility moved by freedom for the choice of living.

Kiarostami directs then the wind will carry us (Bād mā rā khāhad edge) (1999), which gains the Grand Prix of the Jury (money Lion) to the Mostra of Venice. The film puts in opposition rural and urban ideas on the dignity of work. It approaches the topics of the equality of the women and the advantages of progress, by the means of the stay from abroad in a Kurdish village moved back.

In 2000, with the ceremony of the rewards of the Festival of film of San Francisco, Kiarostami surprises everyone by offering its Prix Akira Kurosawa for its career of realizer to the actor Iranian veteran Behrouz Vossoughi for its long contribution to the Iranian cinema.

In 2001, Kiarostami and its assistant, Seifollah Samadian, travel to Kampala (Uganda) at the request of the international Fonds of agricultural development of the the United Nations. The international organization sends them to film a documentary about the supplementary programmes to the Ugandan orphans. Kiarostami remains during ten days and carries out ABC Africa . The voyage at the origin was envisaged like a research preliminary to a true realization, but Kiarostami ends up assembling whole film starting from measuring obtained. Although the orphans of Uganda are primarily the result of the epidemic of AIDS, Geoff Andrew, writer of the British magazine Time Out and person in charge of the programs of the National Film Theater of London, affirms, about ABC Africa : “like its four preceding achievements, this film does not have as a subject death but the life and dead: how they are dependant and which attitude could we adopt with regard to their symbiotic irremediability” .

In 2002, Kiarostami directs Ten , where it implements an unusual technique of realization and where it gives up several conventions of writing of the Scénario. Scott wrote in the NewYork Times that Kiarostami, “in addition to being perhaps the realizer of Iranian cinema more admired in the world during the last decade, is also among the world Masters of the cinema of the motor vehicles… It designs the car like a place of reflection, observation and, especially, conversation. ” .

In 2003, Kiarostami directs Five , a poetic Feature-length film without dialog nor characters. It is composed of five long catches of sight of nature, catches uninterrupted with a manual camera with the format DIGITAL Video, along the shores of the Caspian Sea. Although the film lacks a clear scenario, Geoff Andrew known as of the film which it is “more than just of pretty images; joined together in the order, they contain a kind of abstract and/or emotional narrative trajectory, which oscillates between separation and loneliness and the community, between the movement and the rest, quasi-silence and the noise and the songs, between the light and the darkness then again the light, finishing on a note of rebirth and regeneration” . Further, Andrew announces the degree of artifice hidden behind the apparent simplicity of the illustrated language.

In 2004, Kiarostami produced 10 one Ten , documentary with episodes. In this work, Kiarostami explains in ten lessons how to carry out a film while it leads on the spot of turning of its old films. The film is carried out in DIGITAL Video with a camera fixes gone up inside a car, reminiscence of the Goût of the cherry and Ten .

In 2005 - 2006, it directs the Roads of Kiarostami , a short documentary 32 minutes which encourages with the reflection on the capacity of the landscape, combining austere images in black and white with poetic sights, mixing the music with the political topics.

One of last film of Kiarostami is Tickets (2005) directed in collaboration with Ken Loach and Ermanno Olmi. It tackles the subject of the reciprocal influences between people, in public transport and the street, and the daily life.

Abbas Kiarostami continues always, parallel to her cinematographic activity, to photograph the Iran, one of her greater passions, and to expose her works. It creates also various structures as with the Biennale de Venise in 2001.

Cinematographic style

Stamping from the traditional executives

Although Kiarostami is compared with Satyajit Ray, to Vittorio de Sica, Eric Rohmer and Jacques Tati, his films present a singular model, mobilizing techniques of its invention.

Contrary to other realizers, Kiarostami does not show any interest for the setting in scene of extravagant sequences of Combat or the vibrating scenes of continuation in productions of great scale. Contrary, it tries to adapt the means of film to its own requirements. The camera can swivel, taking the faces of the characters during their actions, by carrying out a series of extremely brought closer plans. Ten is an experiment which makes the use of numeric cameras to eliminate the realizer virtually. This new orientation towards a microphone-numerical cinema is defined as a practice of realization to microphone-budget related to a base of numerical production.

The work of Kiarostami introduces a definition different from the word “film”. According to several professors of cinema such as Jamsheed Akrami of the university William Paterson, Kiarostami systematically tries to redefine film while forgetting supplements it transparency and by forcing the spectator with an increased participation. Since the beginning of the years 2000, it gradually decreases the length of its films, which, according to Akrami, brings back the experiment of the realization of a collective concern towards a purer and more fundamental form of artistic expression.

Combination of the fiction and realism

The films of Kiarostami comprise a notable degree of ambiguity, an original mixture of simplicity and complexity, and often combine documentary fiction and elements. Kiarostami affirms: “We can never approach us the truth safe while lying”.

The border between fiction and non-fiction is appreciably reduced in the cinema of Kiarostami. The French philosopher Jean-Luc Nancy, writing about Kiarostami, and more particularly of its film And the life continues , claims that its films are neither completely of the fiction nor completely the documentary one. And the life continues , writes it, is neither representation nor report, but rather “obviousness” :

It resembles a report completely, but all states obviously that it is the fiction of documentary (in fact, Kiarostami carried out film several months after the earthquake), and that it is rather a document about the " fiction" : not in the direction to imagine the unreal one but in the very specific and precise direction of the technique, the " art" to build images. For the image by means of which, each time, each one open a world and precedes itself there is not given not done everything (like are those of the dreams, the phantasms or bad films) : it must be invented, crossed and gone up. Thus it is " évidence" , in the sense that if it arrives to me one day of " regarder" the street that I assemble and descend ten times one day, I build during one moment a news " évidence" of my street.

For Jean-Luc Nancy, this concept of cinema as “an obviousness”, rather than like documentary or works of imagination, is related to the way in which Kiarostami treats the life and death:

The existence resists the indifference of the life and death, it lives beyond the " vie" mechanics, it is always its own mourning and its own joy. It becomes figure, image. It does not become not alienated in images, there but it is presented : the images are the obviousness of its existence, the objectivity of its assertion. This thought - which, for me, is the thought even of this film the life continues - is the difficult thought, perhaps most difficult. It is a slow thought, always in progress, shelling a way so that the way itself becomes thought. It is that which shells images so that the images become this thought, so that they become the obviousness of this thought - and not in order to it " représenter".

In other words, while wanting to make more than simply to represent the life and death like opposite forces or, rather, to illustrate the way in which each element of nature is dialectically related to the other, Kiarostami designs a cinema which makes more than to present to the spectator the only “facts”, but it is not either simply a question of artifices. Since the “existence” means more than simply the life, it is projective, containing an irremediably fictitious element, but in this “being more than” the life, it is also contaminated by the mortal character. Nancy clarifies, by other terms, the interpretation of the assertion of Kiarostami stressing that the lie is the only way towards the truth .

Emmanuel Burdeau, critical and editor association of the Books of the cinema , discover, in this precedence of the fiction of reality, and, in certain settings in scenes Taste of the cherry , a narrative machinery kafkaïenne, allowing the author to show a function paradoxical, but paramount, belief compared to reality (just as, in this film, the possibility of the suicide positively conditions the freedom of living, according to Kiarostami):

That would not thus be used for to us with nothing to know what could push Mr. Badii to be wanted to die, since all that is not a business of motivation but of belief: so that Mr. Badii dies, it is necessary initially that somebody believes it sufficiently to say yes; Such is the logic curiously circumvented of the characters kiarostamiens: only the fiction makes possible reality, only the fiction makes it obligatory . Just as in Lawsuit proof of culpability holds very whole in fact that lawsuit has be informed (thus that people believe in it hard like iron), in the same way at Kiarostami, and not only in the Taste of the cherry , it is always necessary to pass by a construction , imaginary or fictional, to arrive at a reality.

Set of themes life/dead

The topics of the Life and the Dead and the concepts of change and continuity play a big role in the work of Kiarostami. They are in the middle of the Trilogie of Koker : illustration of the consequences of the disaster of the earthquake of Teheran in 1990, they represent a continuous opposition between the forces of the life and death; and power of human impact strength to overcome and defy the destruction.

However, contrary to the films of Koker which communicate an instinctive thirst for survival, the Taste of the cherry also explores the brittleness of the life and concentrates way rhetoric on its invaluable character.

The Symbole S of the Mort abound in the wind will carry us : the decoration of the Cemetery, the imminence of the demise of the old woman, the ancestors whom the character of Farzad quotes at the beginning of film. Such devices encourage the spectator to take into account the Paramètre S of the life after death and the immaterial existence. The spectator is invited to examine what constitutes the heart and what arrives to him after death. Concerning film, Kiarostami affirms that it is more that which raises questions that which answers it.

Some film criticisms think that the juxtaposition of the light and dark scenes in the cinematographic grammar of Kiarostami, as in the Taste of the cherry and in the wind will carry us , suggest the coexistence, in its films, of the life with its infinite possibilities and of died like factual moment of the life of whoever.

Daring narrative techniques

The style of Kiarostami is remarkable by the use of long catches of panoramic sights as in the final scenes of And the life continues and Through the olive-trees . In such scenes, the spectator is intentionally distant physically from the characters in order to engage his reflection on their destiny. the Taste of the cherry is entirely strewn with catches of sights of this kind, including air catches far away from the car of Badii the suicidal one which moves in the hills and which converses with a passenger. The techniques of visual distance consist of the juxtaposition of the noise and the dialog which always remains in the foreground. Like the coexistence of private and public space, or frequent framings of landscapes by windows of car, this fusion of the distance and proximity can be seen like a way of creating suspense in the moments more the pain-killers.

The characters recite mainly poems of the traditional Persan poet Omar Khayyam or Persan poets modern such as Sohrab Sepehri and Furough Farrokhzad. A scene in the wind will carry us comprises a long catch of sight of a corn field whose surface undulates under the sun and in which the doctor, accompanied by the realizer by film, conduit his Scooter on a road in laces. In answer to the comment that the other world is a place better than this one, the doctor recites this poem of Khayyam.

Spiritual dimension

The films of Kiarostami often explore immaterial concepts like the heart and “after the life”. Sometimes, however, the concept even of spiritual seems to be contradicted by the means of expression itself, since it does not have any means suitable to communicate considerations metaphysics. Some cinematographic theorists claimed that the wind will carry us provides a model to the means of which a realizer of cinema can communicate reality Métaphysique. The limits of the framework, the material representation of a space in the dialog with a character who is not present, become, physically, of the Métaphore S for the relation between this world and those which can exist apart from him. By limiting the space of the Put in scene, Kiarostami increases the space of Article Certains make a parallel between the illustrated language of films of Kiarostami and that of the concepts of the Soufisme.

From the different points of view emerge about this conclusion. Whereas authors of English language like David Sterritt and the professor of cinema, Spanish Alberto Elena, interpret films of Kiarostami like works of spirituality, others critical whose David Walsh and Hamish Ford minimize the role of this one in his films.

Kiarostami describes its manner of turning by a quotation of the poet Mawlana Djalal, died in 1273:

You are my ball of sports shirt continued by my stick. I run unceasingly to follow you although it is me which pursues you

He wants to thus express that it is not the realizer who directs a film, but the actor who leads the realizer.

In Ten , it is a fixed camera which is used - with the manner of Robert Bresson - but with a background which is not fixed since the scene is turned in a car. According to Kiarostami, it is easier for an amateur to speak there, not being opposite an other interlocutor. Moreover, the actors not-professionals do not see the camera.

In 2002 at P.O.L., Kiarostami publishes With the wind (Hamrāh bā bād) , a collection of more than two hundreds of its poems. Its photographic works include/understand Untitled Photographs (Photographs without titles) , a whole of about thirty photographs, mainly covered with snow landscapes, catches with Teheran between 1978 and 2003. It publishes another collection of poems in 1999, just as Jean-Michel Frodon, locating the sensitivity of an authentic scenario writer in his poems, “visual haïkus qualify them”.

The poetry of Kiarostami recalls that of the last poems on the nature of the Iranian poet-painter, Sohrab Sepehri. Brief allusion to philosophical truths without need for problems, the neutral tone of the poetic voice, and the structure of poetry - absence of personal pronouns, of adverbs, support on the adjectives - as well as the worms of the poem containing a Kigo (“word of season”) give to its poetry characteristics of Haïku S. Four of its films belong to the six first of the survey on best films of the years 1990 of the Ontario cineclub. He is recognized by theorists of the cinema, critics, as well as by his pars such Jean-Luc Godard, Nanni Moretti (which made a short-measuring about the opening of one of films of Kiarostami in its theater in Rome), Chris Marker, Ray Carney, and Akira Kurosawa. This last said besides in connection with films of Kiarostami: “The words cannot describe my feelings on their subject… When Satyajit Ray is deceased, I was very depressed. But after having seen films of Kiarostami, I thanked God for having given us exactly the good person to take his place”. Directors encensés by the critic such Martin Scorsese declared that “Kiarostami represents the highest level of art in the cinema”. In 2006, the panel of critics of the newspaper The Guardian classified Kiarostami like the best realizer not-American.

Nevertheless, of the critics such Jonathan Rosenbaum says that “it is undeniable that the films of Abbas Kiarostami divide the spectators - in this country, in its native Iran and everywhere where they are projected”.

Roger Ebert, as for him, does not hesitate to conclude its criticism over the taste from the Cherry by saying that is not worth the sorrow of going to see it.

While Kiarostami receives a significant reception in Europe for several of its films, the Iranian government refuses to authorize the projection of its films in its native Iran. Kiarostami answers: “The government decided not to show any of my films during the 10 last years… I think that they do not include/understand my films and thus prevent them from being seen just if there would be a message which they do not want to see being transmitted”. Richard Pena, the director of the festival which had invited it, said: “It is a terrible sign of what arrives today in my country that no one seems to carry out or take into account the kind of negative signal only this addresses to the whole of the Moslem world ”. Kiarostami had also been invited at the time of the festival by the University of Ohio and the Université Harvard.

In 2005, London Film School (School of the cinema of London) organizes a festival on the work of Kiarostami, heading Abbas Kiarostami: Visions off the Artist (Visions of the artist) , as well as a workshop. Ben Gibson, principal, known as: “Very few people have creative and intellectual perspicacity to invent the cinema starting from its basic elements, of the foundations. We are very happy to be likely to see a Master as Kiarostami which thinks the feet on the ground”. In 2007, the Museum of Modern art and the Center of Contemporary art P.S. 1 of New York Co-organize a festival on the work of Kiarostami, heading Abbas Kiarostami: Image Maker (Realizer) . Kiarostami and its cinematographic style are the subject of several books and two films, It Giorno beyond PRIMA di Close Up (the Day of the Closed-up first of ) (1996, directed by Nanni Moretti) and Abbas Kiarostami: The Art off Living room (the Art of the life) (2003, directed by Fergus Daly).

Participation in the festivals

Abbas Kiarostami was member of the jury of many festivals, in particular of that of the Cannes festival in 1993, 2002 and 2005. He was also president of the jury of the Caméra of gold to the Cannes festival 2005. In parallel, it presented ten films, including three in competitions with Cannes.

One can also quote some of his participations:

Venice, 1985
Locarno, 1990
Cannes, 1993
San Sebastián, 1996
Cannes, 2002
São Paulo, 2004
Cannes, 2005, president

Received rewards

Abbas Kiarostami is a Réalisateur whose fame is world. Participant in much of international festivals of cinema, it gained more than sixty prices, like the Palme of gold, a Lion of gold or the Prix Akira Kurosawa in 2000. Besides he gives this price to Behrouz Vossoughi for his contribution to the Iranian Cinéma. Here the list of the majority of its rewards:

Work

Complete catalog of films

After having turned more than forty long and short films, Abbas Kiarostami has sû to be essential in the world of the Cinéma. In its works, several topics prevail like the Vie and the Mort. Its universe is dark, sometimes black, but the images remain always poetic, and sensual.

* Films to come

Works and articles

Appendices

Random links: