![]() While Kiarostami was established as the leading Iranian film-maker on the world stage, the Makhmalbaf family put a particularly poignant spin on the perception of Iranian cinema, particularly when Samira Makhmalbaf premiered her debut film The Apple (1998) at the Cannes Film Festival when she was just 18. ![]() By this time Kiarostami was a known and fairly successful film-maker in Iran, but his reception in Europe suddenly placed him next to Vittorio De Sica of Bicycle Thieves (1948), Yasujirō Ozu of Tokyo Story (1953) and Satyajit Ray of The Apu Trilogy (1955-1959) and gave his work global power and significance. It was immediately after the global success of The Runner that the world took notice of Abbas Kiarostami, when his now classic film Where is the Friend's Home? (1985) premiered at the Locarno Film Festival. ![]() Shot in multiple locations in the south of the country during the Iran-Iraq War (1980-1988), The Runner crafted a cinematic landscape of its own, following the solitary life of a young boy mesmerised by running, to which Naderi gave a deeply moving, allegorical significance. What brought the focus back to Iranian cinema was Amir Naderi’s masterwork, The Runner (1984), which was something of a revelation when it premiered at the Festival of the Three Continents in Nantes. Based on a short story by Gholam-hossein Saedi, The Cow told the story of a villager and his unique anthropomorphic relationship with his animal with astonishing visual and narrative panache.Īlthough there were many crucial developments in Iranian cinema in the 1970s, the world’s attention was captured by the Iranian Revolution of 1977-1979. ![]() Before that fateful decade had ended, Dariush Mehrjui’s The Cow (1969) was smuggled out of Iran and screened at the 1971 Venice Film Festival, where it won the critics’ prize (Fipresci) a screening in Berlin further consolidated its global recognition as a defining moment in the emerging Iranian cinema. ![]()
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