Abbas Kiarostami was an Iranian filmmaker whose films are so uniquely his they are in a genre of their own. Smart and profound films that offer many polysemic viewpoints and are full of ambiguity. Throughout his career there have been many different techniques, styles, and changes Kiarostami has tested and implemented. His movies all have a certain distinctive quality to them, but starting with his 1987 film “Where Is the Friend's Home?”, he settled into a style that is now uniquely his own. Using minimalism, Kiarostami somehow blurred the line between what is real and what is fictional in his films. Visually and audibly, his films looked real as if they were documentaries simply documenting Iranian life. A documentary style that showcased the beauty that is inherent in Iran, helped emphasis that the problems in the film are actually real problems in real Iran, and helped the every one of Kiarostami’s films in a stylistic choice.
Visually, Kiarostami presents his films in a style that is documentary like. Static shots, long shots, slow camera movement, and close-ups all look real. This style …show more content…
The issues in these films as not for an audience’s entertainment, but are real problems people face in Iran. It’s used as more of a method for uniquely demonstrating those issues, but also Iranian life and culture. Thematically, Kiarostami uses his style to put emphasis on what he makes. Every frame has a meaning. Visually, he makes what’s on the frame count, such as in his 1990 film “Close-Up” in which its title decides how the camera will be framed on the main character Sabzian during his most vulnerable moments. With all his films without much music, there is only strict focus on dialogue by every one of his characters. Using this realistic style, void of non-diegetic music, Kiarostami makes audience see what he wants them to see, and hear what is important and what is
Visually, Kiarostami presents his films in a style that is documentary like. Static shots, long shots, slow camera movement, and close-ups all look real. This style …show more content…
The issues in these films as not for an audience’s entertainment, but are real problems people face in Iran. It’s used as more of a method for uniquely demonstrating those issues, but also Iranian life and culture. Thematically, Kiarostami uses his style to put emphasis on what he makes. Every frame has a meaning. Visually, he makes what’s on the frame count, such as in his 1990 film “Close-Up” in which its title decides how the camera will be framed on the main character Sabzian during his most vulnerable moments. With all his films without much music, there is only strict focus on dialogue by every one of his characters. Using this realistic style, void of non-diegetic music, Kiarostami makes audience see what he wants them to see, and hear what is important and what is