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{{Infobox Celebrity
| name = Chancellor of the Exchequer
| name =عباس کیارستمی<br/>`Abbās Kiyārostamī
| title = [[Chancellor of the Exchequer|Chancellors of the Exchequer]]
| image = Kiarostami.jpg
| color = #ccccff
| caption = Abbas Kiarostami (2004)
| category = <noinclude>[[Category:United Kingdom navigational boxes|Chancellor of the Exchequer]]</noinclude>
| birth_date = {{birth date and age|1940|06|22}}
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| birth_place = [[Image:Flag_of_Iran.svg|25px]] [[Tehran]], [[Iran]]
| death_date =
| death_place =
| occupation = [[Filmmaker]]
}}
<noinclude>
'''Abbas Kiarostami''' ({{PerB| عباس کیارستمی }} `Abbās Kiyārostamī; born [[22 June]], [[1940]], [[Tehran]]) is an internationally acclaimed [[Iran]]ian [[film director]], [[screenwriter]], and [[film producer]].<ref name="GuardianRanking">{{cite web
[[zh:Template:英國財政大臣]]
| url = http://arts.guardian.co.uk/fridayreview/story/0,,1084266,00.html
</noinclude>
| title = The world's 40 best directors
| accessdate=2007-02-23
| date = 2006
| author = Panel of critics
| publisher = Guardian Unlimited
}}</ref><ref name="WexnerAK">{{cite web
| url =http://wexarts.org/info/press/db/87_nr-kiarostami_elec.pdf
| title = ABBAS KIAROSTAMI FILMS FEATURED AT WEXNER CENTER
| accessdate=2007-02-23
| date = 2002
| author = Karen Simonian
| publisher = Wexner center for the art
}}</ref><ref name="BFIpoll">{{cite web
| url = http://www.bfi.org.uk/sightandsound/feature/63/
| title = 2002 Ranking for Film Directors
| accessdate=2007-02-23
| date = 2002
| publisher = British Film Institute
}}</ref> Active as a filmmaker since [[1970 in film|1970]], Kiarostami has been involved in over 40 films, including [[short film]]s and [[documentaries]]. Kiarostami attained critical acclaim for directing the ''[[Koker trilogy]]'', ([[1987 in film|1987]] - [[1994 in film|1994]]), ''[[A Taste of Cherry]]'' ([[1997 in film|1997]]) and ''[[The Wind Will Carry Us]]'' ([[1999 in film|1999]]).
Kiarostami has worked extensively as a [[screenplay|screenwriter]], [[film editing|film editor]], [[art director|art director]] and producer and has designed credit titles and publicity material. Apart from making films, Kiarostami is a [[poet]], [[photographer]], [[painter]], illustrator, graphic designer and has appeared as a film festival panelist.
 
Kiarostami belongs to a generation of filmmakers who created the so-called ''[[Iranian New Wave]]'', a movement in [[Persian cinema]] that started in the late 1960s, and includes pioneering directors [[Forough Farrokhzad]], [[Sohrab Shahid Saless]], [[Bahram Beizai]], and [[Parviz Kimiavi]]. Like Kiarostami, these filmmakers share many common techniques including the use of [[poetic]] [[dialog]] and allegorical storytelling dealing with [[political]] and [[philosophical]] issues.<ref name="Princeton">{{cite web
| url =http://etc.princeton.edu/films/index.php?option=com_content&task=blogsection&id=8&Itemid=2
| title =Abbas Kiarostami
| accessdate=2007-02-23
| date = 2007
| author = Ivone Margulies
| publisher =Princeton University
}}</ref>
 
Kiarostami has a reputation for using [[child]] [[protagonist]]s, stories that take place in [[rural]] [[village]]s, and conversations that unfold inside [[car]]s utilizing stationary mounted cameras. He is also known for his use of contemporary [[Persian literature|Iranian poetry]] in dialog, movie titles, and in the thematic elements of his pictures. In narrative films, he often uses a [[documentary]] style of filmmaking.<ref name="FirouzanFilmBio">{{cite web
| url = http://www.firouzanfilms.com/HallOfFame/Inductees/AbbasKiarostami/AbbasKiarostami.htm
| title = Abbas Kiarostami Biography
| accessdate=2007-02-23
| date = 2004
| author =
| publisher = Firouzan Film
}}</ref>
 
==Personal life==
Kiarostami was interested in the arts from an early age. As a boy, he showed a keen interest in [[painting]] and at age eighteen won a painting competition.<ref name="AKzeitgeit"/> He majored in painting and graphic design at [[Tehran University]], and paid for his studies with a job as a traffic policeman. As a painter, designer, and illustrator, Kiarostami worked in advertising throughout the 1960s, making commercials and designing [[poster]]s. Between 1962 and 1966, he shot some 150 advertisements for Iranian television. Towards the late sixties, he began creating credit titles for films (including ''[[Gheysar]]'' by [[Masoud Kimiai]]) and illustrating children's books.<ref name="AKzeitgeit"/><ref name="AKOpenDemocracy">{{cite web
| url = http://www.opendemocracy.net/arts-Film/article_815.jsp
| title = 10 x Ten: Kiarostami’s journey
| accessdate=2007-02-23
| date = 2002
| author = Ed Hayes
| publisher = Open Democracy
}}</ref>
 
Abbas was married to Parvin Amir-Gholi between 1969 and 1982, when they filed for divorce. Their marriage bore two sons; his first son, Ahmad, was born in 1971, and his second son, Bahman, was born in 1978. [[Bahman Kiarostami]] has become a director and [[cinematographer]] in his own right, and directed the documentary ''[[Journey to the Land of the Traveller]]'' in 1993, at the age of fifteen. In 2000, at the [[San Francisco Film Festival]] award ceremony, Kiarostami surprised everyone by giving away his ''[[:Category:Akira Kurosawa Award winners|Akira Kurosawa prize]]'' to veteran Iranian actor [[Behrooz Vossoughi]] for his many years of contribution to Iranian Cinema.<ref name="Firouzan">{{cite web
| url =http://www.firouzanfilms.com/ReviewIndex/BookReviews/2007/01/19/AriSiletz_NotQuiteAMemoir.htm
| title = Not Quite A Memoire
| accessdate=2007-02-23
| date =
| author = Judy Stone and Ari Siletz
| publisher = Firouzan Films
}}</ref><ref name="SC">{{cite web
| url =http://www.sensesofcinema.com/contents/festivals/00/7/sfiff.html
| title = 43rd Annual San Francisco International Film Festival
| date = 2000
| author = Jeff Lambert
| publisher = Sense of Cinema
}}</ref>
 
==Film career==
===Early work===
In 1969, the first year of the [[Iranian New Wave]] with [[Dariush Mehrjui]]'s film ''[[The Cow]]'', Kiarostami helped to set up a filmmaking department at the Institute for Intellectual Development of Children and Young Adults (Kanun) in [[Tehran]]. The department's debut production was Kiarostami's first film, the twelve-minute ''[[The Bread and Alley]]'' (1970), a [[Neorealism (art)|neo-realistic]] [[short film]] about an unfortunate schoolboy's confrontation with an aggressive dog. This was followed by ''[[Breaktime]]'' (1972). The department would become one of Iran’s most famous film studios, producing not only Kiarostami’s films, but acclaimed Persian films such as ''[[The Runner (Davandeh)|The Runner]]'' and ''[[Bashu, the Little Stranger]]''.<ref name="AKzeitgeit"/>
[[Image:BreadAlley2.jpg|thumb|left|A close-up of the boy in Kiarostami's first film ''[[The Bread and Alley]]'' (1970)]]
 
In the 1970s, while Kiarostami was part of the Iranian cinematic renaissance, he was keen to pursue a career that demonstrated an [[individualism|individualistic]] style of film making.<ref name="AKStrictFS">{{cite web
| url = http://www.filmref.com/journal2002.html
| title = Notes on Close Up - Iranian Cinema: Past, Present and Future
| accessdate=2007-02-23
| date = [[2002]]
| author = Hamid Dabashi
| publisher = Strictly Film School
}}</ref> When discussing his first film, he stated:
<blockquote>"''Bread and Alley'' was my first experience in cinema and I must say a very difficult one. I had to work with a very young child, a dog, and an unprofessional crew except for the cinematographer, who was nagging and complaining all the time. Well, the cinematographer, in a sense, was right because I did not follow the conventions of film making that he had become accustomed to."<ref name="AKSynoptique">{{cite web
| url = http://www.synoptique.ca/core/en/articles/kiarostami_interview
| title = A Talk with the Artist: Abbas Kiarostami in Conversation
| accessdate=2007-02-23
| date = 2004
| author = Shahin Parhami
| publisher =Synoptique
}}</ref>
</blockquote>
 
[[Image:Last Tango in Rhome.jpg|right|thumb|Abbas Kiarostami and [[Bernardo Bertolucci]] on the poster of "Exhibition of the Persian Maestro's Art work" held in [[Rome]].]]
Following ''[[The Experience (film)|The Experience]]'' (1973), Kiarostami released ''[[The Traveller (film)|The Traveller]]'' (''Mossafer'') in [[1974 in film|1974]]. ''The Traveller'' tells the story of Hassan Darabi, a troublesome, amoral 10-year-old boy living in a small town in Iran, who wishes to go to [[Tehran]] to see the [[Iran national football team]] play an important match. In order to achieve that, he steals money from his friends and neighbors through a series of scams. After a number of adventures, he finally reaches Tehran stadium at the time of the match. The film addresses how driven the boy is in reaching his objective, and how in doing so discards the effects that his actions will have on other people, particularly those that are closest to him. In its element, the film is an examination of human behavior and the balance of right and wrong. The film furthered Kiarostami's reputation of [[Realism (dramatic arts)|realism]], [[diegetic]] simplicity, and stylistic complexity, as well as showing a fascination with physical and spiritual journeys.<ref name="BBCAKseason">{{cite web
| url = http://www.bbc.co.uk/films/festivals/abbas_kiarostami_2005.shtml
| title = Abbas Kiarostami Season
| accessdate=2007-02-23
| date = 2005
| author = David Parkinson
| publisher = BBC
}}</ref>
 
In 1975, Kiarostami directed the short films ''[[So Can I]]'' and ''[[Two Solutions for One Problem]]''. In early 1976, he released ''[[Rang-ha (film)|Colors]]'', followed by the 54-minute film ''[[A Wedding Suit]]'', a story about three teenagers coming into conflict over a suit for a wedding.<ref name="C4AK">{{cite web
| url = http://www.channel4.com/film/reviews/feature.jsp?id=145506&page=1
| title = Abbas Kiarostami Masterclass
| accessdate=2007-02-23
| date =
| author = Chris Payne
| publisher = Channel4
}}</ref><ref name="StanfordAK">{{cite web
| url = http://www.stanford.edu/group/psa/events/1999-00/kiarostami/filmography.utf8.html
| title = Films by Abbas Kiarostami
| date = 1999
| author =
| publisher = Stanford University
}}</ref> Kiarostami's first [[feature film]] was the 112-minute ''[[Report (1977 film)|Report]]'' (1977). It revolved around the life of a [[tax collector]] accused of accepting bribes; [[suicide]] was among its themes. In 1979, he produced and directed ''[[First Case, Second Case]]''.
 
===1980s===
In the early 1980s Kiarostami directed several [[short film]]s including ''[[Dental Hygiene]]'' (1980), ''[[Orderly or Disorderly]]'' (1981), and ''[[The Chorus (Kiarostami film)|The Chorus]]'' (1982). In 1983, he directed ''[[Fellow Citizen]]'', but it was not until 1987 that Abbas began to gain recognition outside of Iran with the release of ''[[Where Is the Friend's Home?]]''.
[[Image:Where is the friends home.jpg|thumb|right|''Where Is the Friend's Home? 1987]]
 
''Where Is the Friend's Home?'' tells a deceptively simple account of a conscientious eight-year-old schoolboy's quest to return his friend's notebook in a neighboring village. If the friend fails to hand it in the next day, he may be expelled. The traditional beliefs of Iranian rural people were depicted throughout the movie. The film has been noted for its poetic use of the Iranian [[rural]] landscape and its earnest realism, both important elements of Kiarostami's work. Kiarostami also made the film from a child's point of view, without the condescending tone common to many films about children.<ref name="AKWorldRecord">{{cite web
| url = http://www.eworldrecords.com/wherisfrienh.html
| title = Where is the friend's home?
| accessdate=2007-02-27
| date =
| author = Rebecca Flint
| publisher = World records
}}</ref><ref name="AKzeitWFH">{{cite web
| url = http://www.zeitgeistfilms.com/films/whereisthefriendshome/presskit.pdf
| title = Where Is the Friend's Home?
| accessdate=2007-02-27
| date =
| author = Chris Darke
| publisher = Zeitgeistfilms
}}</ref>
 
''Where Is the Friend's Home?'' and the following films ''[[And Life Goes On]]'' (1992) (also known as ''Life and Nothing More''), and ''[[Through the Olive Trees]]'' (1994) are described by critics as the [[Koker trilogy]], because all three films feature the village of [[Koker]] in northern Iran. The films are based around the [[1990 earthquake disaster in Iran|1990 earthquake disaster]] in which 50,000 people lost their lives, and Kiarostami uses the themes of life, death, change, and continuity to connect the films. The trilogy went on to be become successful in [[France]] in the 1990s and other countries such as the [[Netherlands]], [[Sweden]], [[Germany]] and [[Finland]].<ref name="AKBBC2005">{{cite web
| url = http://www.bbc.co.uk/films/festivals/abbas_kiarostami_2005.shtml
| title = Abbas Kiarostami Season: National Film Theatre, 1st-31 May 2005
| accessdate=2007-02-23
| date = 2005
| author = David Parkinson
| publisher = BBC
}}</ref> However, Kiarostami himself does not consider the films a trilogy, suggesting instead that the last two titles plus ''[[Taste of Cherry]]'' (1997) comprise a trilogy, given their common theme — the preciousness of life.<ref name="CriterionAK">{{cite web
| url = http://www.criterionco.com/asp/release.asp?id=45&eid=63&section=essay
| title = Taste of Cherry
| accessdate=2007-02-23
| date =
| author = Godfrey Cheshire
| publisher = The Criterion Collection
}}</ref> In 1987, Kiarostami was involved in the screenwriting of ''[[The Key]]'', which he edited but did not direct. In 1989, he released ''[[Homework (film)|Homework]]''.
 
===1990s===
[[Image:Close Up Film Poster.gif|thumb|right|In 1990 Abbas directed ''[[Close-Up (film)|Close-Up]]'']]
In [[1990 in film|1990]] Kiarostami directed ''[[Close-Up (film)|Close-Up]]'', which tells the story of the real-life trial of a man who impersonated film-maker [[Mohsen Makhmalbaf]], conning a family into believing they would star in his new film. The family suspects theft as the motive for this charade, but the impersonator, [[Hossein Sabzian]], argues that his motives were more complex. The part documentary, part staged film examines Sabzian's moral justification for usurping Makhmalbaf's identity, questioning his ability to sense his cultural and artistic flair.<ref name="AKslant">{{cite web
| url = http://www.slantmagazine.com/film/film_review.asp?ID=101
| title = Close Up
| date = 2002
| author = Ed Gonzalez
| publisher = Slant Magazine
}}</ref><ref name="AKCombustibleCelluloid">{{cite web
| url = http://www.combustiblecelluloid.com/closeup.shtml
| title = Close-Up: Holding a Mirror up to the Movies
| date = [[2000]]
| author = Jeffrey M. Anderson
| publisher = Combustible Celluloid
| acessdate = 2007-02-22
}}</ref> ''Close-Up'' received praise from directors such as [[Quentin Tarantino]], [[Martin Scorsese]], [[Werner Herzog]], [[Jean-Luc Godard]], and [[Nanni Moretti]].<ref name="AKBfiVideoPublishing">{{cite web
| url = http://www.amazon.co.uk/Close-Up-Hossain-Sabzian/dp/B00004CWIZ
| title = Close-Up
| date = [[1998]]
| publisher = Bfi Video Publishing
}}</ref> and was released across Europe.<ref name="AKTheHindu">{{cite web
| url = http://www.hinduonnet.com/thehindu/fr/2005/05/13/stories/2005051303400400.htm
| title = Celebrating film-making
| date = 2005
| author = HEMANGINI GUPTA
| publisher = The Hindu
}}</ref>
 
In [[1992 in film|1992]], Kiarostami directed ''[[Life, and Nothing More...]]'', regarded by critics as the second film of the [[Koker trilogy]]. The film follows a father and his young son as they drive from [[Tehran]] to Koker in search of the two young boys who starred in the 1987 film ''Where is the Friend's Home?'', fearing that the boys might have lost their lives in the 1990 earthquake. As they travel through the devastated landscape, they meet earthquake survivors forced to carry on with their lives amid tragedy.<ref name="MMartyrAK">{{cite web
| url = http://www.moviemartyr.com/1991/lifeandnothingmore.htm
| title = Life and Nothing More… (Abbas Kiarostami) 1991
| date = 2002
| author = Jeremy Heilman
| publisher = MovieMartyr
}}</ref><ref name="ChicagoReaderAK">{{cite web
| url = http://www.chicagoreader.com/movies/archives/1998/0598/05298.html
| title = Fill In The Blanks
| date = 1997
| author = Jonathan Rosenbaum
| publisher = Chicago Reader
}}</ref><ref name="ZeitinfoAK">{{cite web
| url = http://www.zeitgeistfilms.com/film.php?directoryname=andlifegoeson
| title = And Life Goes On (synopsis)
| date =
| author = Film Info
| publisher = Zeitgeistfilms
}}</ref>
That year Kiarostami won a [[Roberto Rossellini|Prix Roberto Rossellini]], the first professional film award of his career, for his directorship of the film. The last film of the so-called ''Koker trilogy'' was ''[[Through the Olive Trees]]'' (1994), which turns a peripheral scene from ''Life and Nothing More'' into the central drama.<ref name="SenseCinemaAK1">{{cite web
| url = http://www.sensesofcinema.com/contents/03/29/kiarostami_rural_space_and_place.html
| title = Days in the Country: Representations of Rural Space ...
| date = 2003
| author = Stephen Bransford
| publisher = Sense of Cinema
}}</ref>
[[Image:Through the olive trees.jpg|thumb|left|''[[Through the Olive Trees]]'' (1994)]]
Critics such as [[Adrian Martin]] have called the style of filmmaking in the Koker trilogy as "diagrammatical", linking the zig-zagging patterns in the landscape and the geometry of forces of life and the world.<ref name="FilmIrelandAK1">{{cite web
| url = http://www.filmireland.net/reviews/kiarostami.htm
| title = Kiarostami: The Art of Living
| date =
| author = Maximilian Le Cain
| publisher = Film Ireland
}}</ref><ref name="BFIAKWID">{{cite web
| url = http://www.bfi.org.uk/sightandsound/issue/200505
| title = Where is the director?
| date = 2005
| author =
| publisher = British Film Institute
}}</ref> A flashback of the zigzag path in ''Life and Nothing More...'' (1992) in turn triggers the spectator’s memory of the previous film, ''Where Is the Friend’s Home?'' back in 1987, shot before the earthquake. This in turn symbolically links to post-earthquake reconstruction in ''Through the Olive Trees'' in 1994.
 
Kiarostami next wrote the screenplays for [[The Journey (film)|''The Journey'']] and
''[[The White Balloon]]'' ([[1995 in film|1995]]), for his former assistant [[Jafar Panahi]].<ref name="AKzeitgeit"/>
Between 1995 and 1996, he was involved in the production of ''[[Lumière and Company]]'', a collaboration with 40 other film directors.
 
In [[1997 in film|1997]], Kiarostami won the ''[[Palme d'Or]]'' (Golden Palm) award at the [[Cannes Film Festival]] for ''[[Taste of Cherry]]'', the tale of a desperate man, Mr. Badiei, bent on committing suicide. The film involves themes such as [[morality]], the legitimacy of the act of suicide, and the meaning of compassion.<ref name="SenseCinemaSuicide">{{cite web
| url = http://www.sensesofcinema.com/contents/00/9/taste.html
| title = Concepts of Suicide in Kiarostami's Taste of Cherry| date = 2005
| date = 2000
| author = Constantine Santas
| publisher = Sense of Cinema
}}</ref>
 
Kiarostami next directed ''[[The Wind Will Carry Us]]'' ([[1999 in film|1999]]), which won the Grand Jury Prize (Silver Lion) at the [[Venice International Film Festival]]. The film contrasted rural and urban views on the dignity of labor, addressing themes of female equality and the benefits of progress, by means of a stranger's sojourn in a remote [[Kurdish]] village.<ref name="AKBBC2005"/> Many of the characters are heard but not seen, and there are some thirteen or fourteen characters in the film who remain invisible throughout.<ref name="GuardianUnlimitedinterview">{{cite web
| url = http://film.guardian.co.uk/interview/interviewpages/0,,1476326,00.html
| title = Abbas Kiarostami, interview
| date = 2005
| author =Geoff Andrew
| publisher = Guardian Unlimited
}}</ref>
 
===2000s===
In [[2002 in film|2002]], Kiarostami directed ''[[Ten (film)|Ten]]'', revealing a somewhat unique method of filmmaking and abandoning many scriptwriting conventions.<ref name="GuardianUnlimitedinterview"/> Kiarostami focuses on the socio-political landscape of Iran, and the images are seen through the eyes of one woman as she drives through the streets of [[Tehran]] over a period of several days. Her journey is composed of ten conversations with various passengers, including her sister, a hitchhiking [[prostitute]] and a jilted [[bride]], as well as her demanding young son. This style of filmmaking was praised by a number of professional film critics such as [[A. O. Scott]] in ''[[The New York Times]]'', who wrote that Kiarostami, "in addition to being perhaps the most internationally admired Iranian filmmaker of the past decade, is also among the world masters of automotive cinema...He understands the automobile as a place of reflection, observation and, above all, talk."<ref name="ZeitGeistTen">{{cite web
| url = http://www.zeitgeistfilms.com/film.php?directoryname=ten
| title = Ten (film) synopsis
| accessdate=2007-02-23
| date =
| author = Ten info
| publisher = Zeitgeistfilms
}}</ref>
[[Image:ABCAfrica.jpg|thumb|right|''[[ABC Africa]]'']]
 
In [[2001 in film|2001]], Kiarostami and his assistant, Seifollah Samadian, traveled to [[Kampala]], [[Uganda]] at the request of the [[United Nations]] [[International Fund for Agricultural Development]], to film a documentary about programs assisting Ugandan orphans. He stayed for ten days and made ''[[ABC Africa]]''. The trip was originally intended as research in preparation for the actual filming, but Kiarostami ended up editing the entire film from the video footage obtained.<ref>Geoff Andrew, ''Ten'' (London: BFI Publishing, 2005), p. 35.</ref> Although Uganda's orphans are overwhelmingly the result of the [[HIV/AIDS in Africa|AIDS epidemic]], ''[[Time Out]]'' editor and [[National Film Theatre]] chief programmer Geoff Andrew stated about Kiarostami's film: "Like his previous four features, this film is not about death but life-and-death: how they're linked, and what attitude we might adopt with regard to their symbiotic inevitability."<ref>Geoff Andrew, ''Ten'', (London: BFI Publishing, 2005) p. 32.</ref>
 
In [[2003 in film|2003]], Kiarostami directed ''[[Five (film)|Five]]'', a poetic feature with no dialog or characterization. It consists of five long shots of nature which are single-take sequences, shot with a hand-held [[DV]] camera, along the shores of the [[Caspian Sea]]. Although the film lacks a clear storyline, Geoff Andrew argues that the film is "more than just pretty pictures": "Assembled in order, they comprise a kind of abstract or emotional narrative arc, which moves evocatively from separation and solitude to community, from motion to rest, near-silence to sound and song, light to darkness and back to light again, ending on a note of rebirth and regeneration."<ref>Geoff Andrew, ''Ten'', (London: BFI Publishing, 2005) pp. 73–4.</ref> He further notes the degree of artifice concealed behind the apparent simplicity of the imagery.
 
In [[2004 in film|2004]], Kiarostami produced ''[[10 on Ten]]'', a journal documentary that shares ten lessons on movie-making while driving through the locations of his past films. The movie is shot on digital video with a stationary camera mounted inside the car, in a manner reminiscent of ''Taste of Cherry'' and ''Ten''.
 
Between 2005 and 2006, he directed ''[[The Roads of Kiarostami]]'', a 32-minute documentary that reflects on the power of landscape, combining austere black-and-white photographs with poetic observations, engaging music with political subject matter.
 
Kiarostami's most recent film was ''[[Tickets (film)|Tickets]]'', directed in collaboration with [[Ken Loach]] and [[Ermanno Olmi]], a film covering the interactions between people on [[public transport]] and in the street of everyday life.
 
==Cinematic style==
{{main|Cinematic style of Abbas Kiarostami}}
===Individualism===
[[Image:Taste of cherry.gif|right|thumb|[[Palme d'Or]] winner ''Taste of Cherry'']]
Though Kiarostami has been compared to [[Satyajit Ray]], [[Vittorio de Sica]], [[Eric Rohmer]], and [[Jacques Tati]], his films exhibit a singular style, often employing techniques of his own invention.<ref name="AKzeitgeit"/>
 
During the filming of ''The Bread and Alley'' in 1970, Kiarostami disagreed with his experienced [[cinematographer]] about how to film the boy and the attacking dog. Whereas the cinematographer wanted separate shots of the boy approaching, a close up of his hand as he enters the house and closes the door, followed by a shot of the dog, Kiarostami believed that if the three scenes could be captured as a whole it would have a more profound impact in creating tension over the situation. That one shot took some forty days days to complete, until Kiarostami was fully content with the scene. Abbas later commented that the breaking of scenes can disrupt the [[rhythm]] and content of the film's structure, preferring to let the scene flow as one.<ref name="AKSynoptique">{{cite web
| url = http://www.synoptique.ca/core/en/articles/kiarostami_interview
| title = A Talk with the Artist: Abbas Kiarostami in Conversation
| accessdate=2007-02-23
| date = 2004
| author = Shahin Parhami
| publisher =Synoptique
}}</ref>
 
Unlike other directors, Kiarostami showed no interest in staging extravagant [[combat]] scenes or complicated chase scenes in large-scale productions, but instead attempted to mold the medium of film to his own specifications.<ref name="IHFAkrami"/>Kiarostami appeared to have settled on his style with the ''[[Koker trilogy]]'' which included a myriad of references to his own film material, connecting common themes and subject matter between each of the films. Stephen Bransford has contended that Kiarostami's films do not contain references to the work of other directors, but are fashioned in such a manner that they are self-referenced. Bransford believes his films are often fashioned into an ongoing dialectic: one film reflecting on and partially demystifying an earlier film.<ref name="SenseCinemaAK1"/>
Nevertheless, he continued experimenting with new modes of filming, using different directorial methods and techniques. Much of ''Ten'', for example, was filmed in a moving automobile in which Kiarostami was not present. He gave suggestions to the actors about what to do, and a camera placed on the [[dashboard]] then filmed them while they drove around Tehran.<ref name="AKSynoptique">{{cite web
| url = http://www.synoptique.ca/core/en/articles/kiarostami_interview
| title = A Talk with the Artist: Abbas Kiarostami in Conversation
| accessdate=2007-02-23
| date = 2004
| author = Shahin Parhami
| publisher =Synoptique
}}</ref<ref> [http://www.macalester.edu/weekly/120503/arts01.html] </ref>
[[Image:Tenxtremecloseup.jpg|thumb|left|The [[dashboard]] camera used to film the daily routines of a woman in ''[[Ten (film)|Ten]]'' without the personal presence of the director]] The camera was allowed to roll, capturing the faces of the people involved during the daily routine, using a series of extreme-close shots. ''Ten'' was an experiment that used digital cameras to virtually eliminate the [[film director|director]]. This new direction is towards a ''[[microcinema|Digital-Micro-Cinema]]'', defined as a micro-budget filmmaking practice allied with a digital production basis.<ref>Ganz, A. & Khatib, L. (2006) "Digital Cinema: The transformation of film practice and aesthetics" in New Cinemas, vol. 4 no 1, pp 21-36</ref>
 
Kiarostami's cinema offers a different definition of ''film''. According to film professors such as Jamsheed Akrami of [[William Paterson University]], Kiarostami has consistently attempted to redefine [[film]] by lowering its full definition and forcing the audience's increased involvement. In recent years, he has also progressively trimmed down the size of his films, which Akrami believes reduces the filmmaking experience from a collective endeavor to a purer, more basic form of artistic expression.<ref name="IHFAkrami">{{cite web
| url = http://www.iranheritage.com/kiarostamiconference/abstracts_full.htm
| title = Cooling Down a 'Hot Medium'
| accessdate=2007-02-23
| date = 2005
| author = Jamsheed Akrami
| publisher =Iran Heritage Foundation
}}</ref>
 
[[Image:10ontenshot.jpg|thumb|right|Kiarostami in ''[[10 on Ten]]'', looking back on his film-making techniques]]
 
===Fiction and non-fiction===
Kiarostami's films contain a notable degree of ambiguity, an unusual mixture of simplicity and complexity, and often mix fiction and documentary elements. Kiarostami has said "We can never get close to the truth except through lying."<ref name="AKzeitgeit"/><ref name="SenseCinemaBalloon">{{cite web
| url = http://www.sensesofcinema.com/contents/01/15/panahi_balloon.html
| title = The White Balloon and Iranian Cinema
| accessdate=2007-02-23
| date = 2001
| author = Adrian Martin
| publisher =Sense of Cinema
}}</ref>
 
The boundary between fiction and non-fiction is significantly reduced in Kiarostami's cinema.<ref name="FuckFact">{{cite web
| url = http://www.thestranger.com/seattle/Content?oid=1802
| title = Kiarostami's Genius Style
| accessdate=2007-02-23
| date = 1999
| author = CHARLES MUDEDE
| publisher =The Stranger
}}</ref> The French philosopher [[Jean-Luc Nancy]], writing about Kiarostami, and in particular ''Life and Nothing More...'', has argued that his films are neither quite fiction nor quite documentary. ''Life and Nothing More...'', he argues, is neither representation nor reportage, but rather "evidence":
<blockquote>[I]t all looks like reporting, but everything underscores (''indique à l'évidence'') that it is the fiction of a documentary (in fact, Kiarostami shot the film several months after the earthquake), and that it is rather a document about "fiction": not in the sense of imagining the unreal, but in the very specific and precise sense of the technique, of the ''art'' of constructing images. For the image by means of which, each time, each opens a world and precedes himself in it (''s'y prédède'') is not pregiven (''donnée toute faite'') (as are those of dreams, phantasms or bad films): it is to be invented, cut and edited. Thus it is ''evidence'', insofar as, if one day I happen to ''look'' at my street on which I walk up and down ten times a day, I construct for an instant a new ''evidence'' of my street.<ref>Jean-Luc Nancy, "On Evidence: ''Life and Nothing More'', by Abbas Kiarostami," ''Discourse'' 21.1 (1999), p.82. Also, cf., [http://www.egs.edu/faculty/nancy/nancy-is-cinema-renewing-itself.html].</ref></blockquote>
 
For Jean-Luc Nancy, this notion of cinema as "evidence," rather than as documentary or imagination, is tied to the way Kiarostami deals with life-and-death (cf. the remark by Geoff Andrew on ''ABC Africa'', cited above, to the effect that Kiarostami's films are not about death but about life-and-death):
<blockquote> Existence resists the indifference of life-and-death, it lives beyond mechanical "life," it is always its own mourning, and its own joy. It becomes figure, image. It does not become alienated in images, but it is presented there: the images are the evidence of its existence, the objectivity of its assertion. This thought—which, for me, is the very thought of this film [''Life and Nothing More...'']—is a difficult thought, perhaps the most difficult. It's a slow thought, always under way, fraying a path so that the path itself becomes thought. It is that which frays images so that images become this thought, so that they become the evidence of this thought—and not in order to "represent" it.<ref>Jean-Luc Nancy, "On Evidence: ''Life and Nothing More'', by Abbas Kiarostami," ''Discourse'' 21.1 (1999), p.85–6.</ref></blockquote>
 
In other words, wanting to do more than just represent life and death as an opposition, and instead to show the way in which each is inevitably and profoundly involved with the other, Kiarostami has devised a cinema that does more than just present the viewer with the documentable "facts," but neither is it simply a matter of artifice. Because "existence" means more than simply life, it is projective, containing an irreducibly fictive element, but in this "being more than" life, it is therefore contaminated by mortality. Nancy is giving a clue, in other words, toward the interpretation of Kiarostami's statement that lying is the only way to truth.<ref>Jean-Luc Nancy, ''The Evidence of Film - Abbas Kiarostami'', Yves Gevaert, Belgium 2001, ISBN 2930128178</ref><ref name="Al-Ahram">{{cite web
| url = http://weekly.ahram.org.eg/2001/556/cu1.htm
| title = Strategic lies
| accessdate=2007-02-23
| date = 2001
| author = Injy El-Kashef and Mohamed El-Assyouti
| publisher = Al-Ahram Weekly
}}</ref>
 
===Themes of life and death===
Themes of life and death and the concepts of [[change]] and [[continuity]] play a major role in the construction of Kiarostami's works. In the [[Koker trilogy]] these themes play a central role to the film and represent an ongoing life force in the face of death and destruction and the power of human resilience to overcome and defy death illustrated in the aftermath of the 1990 Tehran earthquake disaster.
[[Image:Wind Will Carry UsGraveyard.jpg|thumb|right|250px|The dark graveyard in ''[[The Wind Will Carry Us]]'']]
However, unlike the Koker films, which convey an instinctual thirst for survival, ''Taste of Cherry'' also explores the fragility of life and rhetorically focuses also on the preciousness of life .<ref name="CriterionAK"/>
[[Image:1990Iranearthquake.jpg|thumb|left|The devastation caused by the [[1990 Iran earthquake]]]]
On the contrary, [[symbol]]s of [[death]] proliferate throughout ''The Wind Will Carry Us'' with the scenery of [[graveyard]], the imminence of the old woman’s passing, and the ancestors that the character of Farzad mentions in an early conversation during the film. Such devices address the viewer to consider the [[parameter]]s of the afterlife, to say nothing of immaterial existence more generally. The viewer is asked to consider what it is that constitutes the soul, and what similarly happens to the soul after death. In discussing the film, Kiarostami has stated that his function as that of one who raises questions, rather than the person who answers them. In a highly realistic sense Kiarostami affirms that these questions thst the audience must decide for themselves in viewing his films.<ref name="Beyond">{{cite web
| url = http://www.reverseshot.com/legacy/spring04/wind.html
| title = Beyond Borders
| accessdate=2007-02-23
| date = 2004
| author = Michael J. Anderson
| publisher = reverse shot
}}</ref>
 
Some film critics believe that the assemblage of light versus dark scenes in Kiarostami's film grammar, such as in ''Taste of Cherry'' and ''Wind Will Carry Us'', suggests the mutual existence of life with its endless possibilities and death as a factual moment of anyone’s life in his films.<ref name="Khatereh">{{cite web
| url =http://taylorandfrancis.metapress.com/(pprduc55otmld4fq514ftzuk)/app/home/contribution.asp?referrer=parent&backto=issue,3,6;journal,1,16;linkingpublicationresults,1:300347,1
| title =Kiarostami and the Aesthetics of Modern Persian Poetry
| accessdate=2007-02-23
| date = 2006
| author = Khatereh Sheibani
| publisher =Taylor & Francis Group
}}</ref>
{{clear}}
===Visual and audio techniques===
Kiarostami's style is notable for the use of long shots, such as in the closing sequences of ''[[Life and Nothing More]]'' and'' [[Through the Olive Trees]]'', where the audience is intentionally distanced physically from the
characters in order to provoke reflection on their fate. ''[[Taste of Cherry]]'' is punctuated throughout by shots of this kind, including distant overhead shots of the suicidal Badii's car moving across the hills, usually while he's conversing with a passenger. However, the physical distanciation techniques stand in juxtaposition to the the sound of their dialog, which always remains in the foreground. Like the coexistence of private and public space, or the frequent framing of landscapes through car windows, this fusion of distance with proximity can be seen as a way of generating suspense in the most mundane of moments.<ref name="ChicagoReaderAK"/>
 
This relationship between distance and intimacy, between imagery and sound, is also present in the opening sequence to ''[[The Wind Will Carry Us]]''. Michael J. Anderson has argued that such a [[thematic]] application of this central concept of presence without presence, through using such [[technique]]s, and by often referring to characters which the viewer does not see and somtimes not hear directly affects the nature and concept of space in the [[geographical]] framework in which the world is portrayed. Kiarostami's use of [[sound]] and [[imagery]] conveys a world beyond what is directly visible and/or audible, which Anderson's believes emphasises the interconnectedness and shrinking of time and space in the modern world of [[telecommunications]].<ref name="Beyond"/>
 
Other commentators such as [[film critic]] Ben Zipper believes that Kiarostami’s work as a landscape artist is evident in his compositional distant shots of the dry hills throughout a number of his films directly impacting on his construction on the rural landscapes within his films.<ref name="Khatereh"/>
 
===Poetry and imagery===
[[Ahmad Karimi-Hakkak]], of the [[University of Maryland, College Park|University of Maryland]], argues that one aspect of Kiarostami's cinematic style is that he is able to capture essences of [[Persian poetry]] and create poetic imagery within the landscape of his films. In several of Kiarostami's pictures such as ''[[Where's the Friend's Home]]'' and ''[[The Wind Will Carry Us]]'', classical Persian poetry is actually directly quoted in the film, highlighting the artistic link and intimate connection between them. This in turn reflects on the connection between the past and present, between continuity and change.<ref> ''From Kinetic Poetics to a Poetic Cinema: Abbas Kiarostami and the Esthetics of Persian Poetry'', Ahmad Karimi-Hakkak, University of Maryland (2005)] </ref>
[[Image:Omar Khayam.jpg|right|thumb|Khayyam, Persian poet and philosopher]]
An aspect of Abbas Kiarostami's artistry that eludes those unfamiliar with [[Persian poetry]] and that has, therefore, remained inaccessible to many among his audiences has to do with the way he turns poetic images into cinematic ones. This is most obvious in those of his films that recall specific texts of Persian poetry more or less explicitly: ''Where's the Friend's Home'' and ''The Wind will Carry Us''. The characters recite poems mainly from classical Persian poet [[Omar Khayyám]] or modern Persian poets [[Sohrab Sepehri]] and [[Forough Farrokhzad]]. One of the most poetic moments in ''Wind Will Carry Us'' is a long shot of a wheat field with rippling golden crops through which the doctor, accompanied by the filmmaker, is riding his scooter in a twisting road. In response to his comment that the other world is a better place than this one, the doctor recites this poem of Khayyam:<ref name="Khatereh"/>
 
{{cquote|They promise of houries in heaven
<P>But I would say wine is better
<P>Take the present to the promises
<P>A drum sounds melodious from apart}}
 
However, the aesthetic involved with the poetry goes much farther back in time and is used much more subtly than these examples suggest. Beyond issues of adaptation of text to film, Kiarostami often begins with an insistent will to give visual embodiment to certain specific image-making techniques in [[Persian]] poetry, both classical and contemporary, and often ends up enunciating a larger [[philosophical]] position, namely the ontological oneness of poetry and film.<ref>From Kinetic Poetics to a Poetic Cinema: Abbas Kiarostami and the Esthetics of Persian Poetry
Ahmad Karimi-Hakkak, University of Maryland, College Park (MD)</ref>
 
It has been argued that the creative merit of Kiarostami's adaptation of Sohrab Sepehri and Forough Farrokhzad's poems extends the ___domain of textual transformation. Adaptation is defined as the transformation of a prior to a new text. Sima Daad of the [[University of Washington]] contends that Kiarostami's adaptation arrives at the theoretical realm of adaptation by expanding its limit from inter-textual potential to trans-generic potential.<ref name="SimaDaad">{{cite web
| url =http://www.iranheritage.com/kiarostamiconference/abstracts_full.htm
| title =Adaption, Fidelity, and Transformation: Kiarostami and the Modernist Poetry of Iran
| accessdate=2007-02-23
| date = 2005
| author = Sima Daad
| publisher =Iran Heritage Foundation
}}</ref>
 
===Spirituality===
Kiarostami's "complex" sound-images and philosophical approach have caused frequent comparisons with "mystical" filmmakers such as [[Andrei Tarkovsky]] and [[Robert Bresson]]. Irrespective of substantial cultural differences, much of western writing about Kiarostami positions him as the Iranian equivalent of such directors, by virtue of universal austere, "spiritual" poetics and moral commitment.<ref name="Hamish">{{cite web
| url =http://esvc001106.wic016u.server-web.com/contents/books/06/38/cinema_kiarostami.html
| title =The Cinema of Abbas Kiarostami by Alberto Elena
| accessdate=2007-02-23
| date = 2005
| author = Hamish Ford
| publisher =Sense of Cinema
}}</ref> Some draw parallels between certain imagery in Kiarostami's films with that of [[Sufi]] concepts.<ref name="Pak">{{cite web
| url = http://www.iranheritage.org/kiarostamiconference/abstracts_full.htm#j
| title = Religion and Spirituality in Kiarostami's Works
| accessdate=2007-02-23
| date = 2005
| author = Nacim Pak
| publisher = Iran Heritage Foundation
}}</ref>
 
Differing viewpoints have arisen about this issue. While the vast majority of English-language writers, such as David Sterritt and Spanish film professor Alberto Elena, interpret these films as spiritual films, critics including [[David Walsh (writer)|David Walsh]] and Hamish Ford disagree.<ref name="Hamish"/><ref name="Pak"/><ref name="CriterionAK"/> <!-- What do they think instead? -->
 
==Poetry and photography==
[[Image:Kiarostamidirectorbbc.jpg|thumb|right|Kiarostami directing ''[[Five (film)|Five]]'' in 2004]]
Abbas Kiarostami, along with [[Ridley Scott]], [[Jean Cocteau]], [[Pier Paolo Pasolini]], [[Derek Jarman]], and [[Gulzar]], is part of a tradition of filmmakers whose artistic expressions are not restricted to one medium, but who show the ability to use other forms such as [[poetry]], [[set design]]s, [[painting]], or [[photography]] to relate their interpretation of the world we live in and to illustrate their understanding of our preoccupations and identities.<ref name="Farzad">{{cite web
| url = http://www.iranheritage.com/kiarostamiconference/abstracts_full.htm
| title = Simplicity and Bliss: Poems of Abbas Kiarostami
| accessdate=2007-02-23
| date = 2005
| author = Narguess Farzad
| publisher =Iran Heritage Foundation
}}</ref>
 
Kiarostami is a noted [[photographer]] and poet. A bilingual collection of more than 200 of his poems ''Walking with the Wind'' was published by [[Harvard University Press]]. His photographic work includes ''Untitled Photographs'', a collection of over thirty photographs, essentially of snow landscapes, taken in his hometown Tehran, between 1978 and 2003). He has also published a collection of his poems in 1999.<ref>[http://www.jornaldeleiria.pt/index.php?article=1026&visual=1 ''Kiarostami mostra fotos de neve'' (Kiarostami shows snow photographs)] (Portuguese) - a newspaper article on an occasion of ''Untitled Photographs'' being displayed in [[Lisbon]].</ref><ref name="AKzeitgeit"/>
 
Riccardo Zipoli, from the [[University of Venice|Università Ca' Foscari Venezia]] in [[Venice]], has examined some aspects of the relations and interconnections between Kiarostami's poems and his films. The results of the analysis reveal how Kiarostami's treatment of this theme is similar in his poems and films.<ref name="RiccardoZipoli">{{cite web
| url = http://www.iranheritage.org/kiarostamiconference/abstracts_full.htm#n
| title = Uncertain Reality: A Topos in Kiarostami's Poems and Films
| accessdate=2007-02-23
| date = 2005
| author = Riccardo Zipoli
| publisher =Iran Heritage Foundation
}}</ref>
 
Kiarostami's poetry is reminiscent of the later nature poems of the Persian painter-poet, [[Sohrab Sepehri]]. On the other hand, the succinct allusion to [[philosophical]] truths without the need for deliberation, the non-judgmental tone of the poetic voice, and the structure of the poem—absence of personal pronouns, adverbs or over reliance on adjectives—as well as the lines containing a ''kigo'' (a season word) gives much of this poetry a [[Haiku]]esque characteristic.<ref name="Farzad"/>
 
==Reception and criticism==
Kiarostami has received worldwide acclaim for his work from both audiences and critics, and, in 1999, he was unequivocally voted the most important film director of the 1990s by two international critics polls.<ref name="Dorna">{{cite web
| url = http://www.brightlightsfilm.com/35/iraniancinema.html
| title = Close Up: Iranian Cinema Past Present and Future, by Hamid Dabashi.
| accessdate=2007-02-23
| date = 2002
| author = DORNA KHAZENI
| publisher =Brightlightsfilms
}}</ref> Four of his films placed in the top six of Cinematheque Ontario's Best of the '90s poll.<ref name="Eye">{{cite web
| url = http://www.eye.net/eye/issue/issue_05.02.02/film/kiarostami.php
| title = Carried by the wind: Films by Abbas Kiarostami
| accessdate=2007-02-23
| date = 2002
| author = JASON ANDERSON
| publisher =Eye Weekley
}}</ref> He has gained recognition from film theorists, critics, as well as peers such as [[Jean-Luc Godard]], [[Nanni Moretti]] (who made a short film about opening one of Kiarostami's films in his theater in Rome), [[Chris Marker]], [[Ray Carney]], and [[Akira Kurosawa]], who said of Kiarostami's films: "Words cannot describe my feelings about them ... When [[Satyajit Ray]] passed on, I was very depressed. But after seeing Kiarostami’s films, I thanked God for giving us just the right person to take his place."<ref name="AKzeitgeit">{{cite web
| url = http://www.zeitgeistfilms.com/directors/akiarostami/
| title = Abbas Kiarostami: Biography
| accessdate=2007-02-23
| publisher = Zeitgeist, the spirit of the time
}}</ref><ref name="AKNEFilm">{{cite web
| url = http://www.newenglandfilm.com/news/archives/01november/carney.htm
| title = Carney on Cassavetes: Film critic Ray Carney sheds light on the work of legendary indie filmmaker, John Cassavetes.
| accessdate=2007-02-23
| date = 2001
| author = Cynthia Rockwell
| publisher = NEFilm
}}</ref> [[Image:Kiarostamicover2.gif|thumb|left|Book cover]]
Critically-acclaimed directors such as [[Martin Scorsese]] have commented that "Kiarostami represents the highest level of artistry in the cinema."<ref name="Martyr">{{cite web
| url = http://www.countercurrents.org/arts-jeffries250405.htm
| title = Abbas Kiarostami- Not A Martyr
| accessdate=2007-02-23
| date = 2005
| author = Stuart Jeffries
| publisher =''[[The Guardian]]''
}}</ref> In 2006, ''[[The Guardian]]'''s panel of critics ranked Kiarostami as the best non-American film director.<ref name="PanelofCritics">{{cite web
| url = http://film.guardian.co.uk/features/page/0,11456,1082823,00.html
| title = The world's 40 best directors
| accessdate=2007-02-23
| date = 2006
| author = Panel of critics
| publisher =''The Guardian''
}}</ref>
 
Nevertheless, critics such as [[Jonathan Rosenbaum]] have argued that "there's no getting around the fact that the movies of Abbas Kiarostami divide audiences—in this country, in his native Iran, and everywhere else they're shown."<ref name="ChicagoReaderAK"/>
[[Image:Nantes-kiarostami.jpg|thumb|right|"Kiarostami event" at The Nantes Three Continents Film Festival (2004)]]
Rosenbaum has argued that disagreements and controversy over Kiarostami's pictures have arisen from his style of film making because what in Hollywood would count as essential narrative information is frequently missing from Kiarostami's films. Camera placement, likewise, often defies standard audience expectations. In the closing sequences of ''Life and Nothing More'' and ''Through the Olive Trees'', the audience is forced to imagine missing scenes. In ''Homework'' and ''Close-Up'', parts of the sound track have been masked, or drop in and out.
 
Whilst Kiarostami has had significant acclaim in Europe over several of his films, the [[Iranian government]] has refused to permit the showing of his films in his native [[Iran]]. As Abbas had stated in response to the situation, "The government has decided not to show any of my films for the past 10 years...I think they don't understand my films and so prevent them being shown just in case there is a message they don't want to get out".<ref name="Martyr"/>
However, Kiarostami has faced opposition in the United States as well. In 2002, he was refused a [[visa]] to attend the [[New York Film Festival]] in the wake of the [[September 11, 2001 attacks|September 11, 2001 attacks on the World Trade Center]].<ref name="Salon">{{cite web
| url = http://dir.salon.com/story/ent/movies/2002/09/27/kiarostami/index.html
| title = Iran's leading filmmaker denied U.S. visa
| accessdate=2007-02-23
| date = 2002
| author = Andrew O'Hehir
| publisher =Salon.com
}}</ref><ref name="BBCvisa">{{cite web
| url = http://news.bbc.co.uk/2/hi/entertainment/film/2321051.stm
| title = Iranian director hands back award
| accessdate=2007-02-23
| date = 2002
| author =
| publisher =BBC
}}</ref> Festival director [[Richard Pena]], who had invited him, said: "It's a terrible sign of what's happening in my country today that no one seems to realise or care about the kind of negative signal this sends out to the entire [[Muslim]] world".<ref name="Martyr"/> [[Finland|Finnish]] film director [[Aki Kaurismäki]] boycotted the festival in protest.<ref name="HRW">{{cite web
| url = http://www.hrw.org/iff/2002/kiarostami.html
| title =Abbas Kiarostami Controversy at the 40th NYFF
| accessdate=2007-02-23
| date = 2002
| author = Celestine Bohlen
| publisher =Human Rights Watch
}}</ref> Kiarostami had been invited by the [[New York Film Festival|New York International Film Festival]], as well as [[Ohio University]] and [[Harvard University]].<ref name="Entry">{{cite web
| url =http://www.iranian.com/Arts/2002/September/Kia/index.html
| title =No entry for Kiarostami
| accessdate=2007-02-23
| date = 2002
| author = Jacques Mandelbaum
| publisher =Le Monde
}}</ref>
 
In 2005, [[London Film School]] organized a festival of the Iranian artist’s work, named "Abbas Kiarostami: Visions of the Artist", as well as a workshop. Ben Gibson, Director of the London Film School, said "Very few people have the creative and intellectual clarity to invent cinema from its most basic elements, from the ground up. We are very lucky to have the chance to see a master like Kiarostami thinking on his feet."<ref name="Pars">{{cite web
| url =http://www.parstimes.com/film/kiarostami_workshop.html
| title =Abbas Kiarostami workshop 2- 10 May 2005
| accessdate=2007-02-23
| date = 2005
| author =
| publisher = Pars times
}}</ref>
Kiarostami and his cinematic style have been the subject of several books and two films namely ''Il Giorno della prima di Close Up'' (1996), directed by [[Nanni Moretti]] and ''Abbas Kiarostami - The Art Of Living'' (2003), directed by Fergus Daly.
 
== Honors and awards ==
[[Image:Kiarostamiwithscorcese.jpg|thumb|right|Kiarostami accepting an award from [[Martin Scorcese]]]]
Abbas Kiarostami has won the admiration of audiences and critics worldwide and received some 70 awards till 2000.<ref name="KiarostamiAwards">{{cite web
| url =http://www.sensesofcinema.com/contents/directors/02/kiarostami.html
| title = Abbas Kiarostami
| accessdate=2007-02-27
| date = 2002
| author = Mehrnaz Saeed-Vafa
| publisher = Sense of Cinema
}}</ref> Here are some representatives:
 
* [[Roberto Rossellini|Prix Roberto Rossellini]] (1992)
* Prix Cine Decouvertes (1992)
* [[François Truffaut]] Award (1993)
* [[Pier Paolo Pasolini]] Award (1995)
* [[Federico Fellini]] Gold Medal, UNESCO (1997)
* [[Palme d'Or]], Cannes Festival (1997)
* Honorary Golden Alexander Prize, [[Greece]] (1999)
* Silver Lion, Venice Film Festival (1999)
* [[Akira Kurosawa]] Award (2000)
* Honorary doctorate, [[Ecole Normale Supérieure]] (2003)
* [[Konrad Wolf]] Prize (2003)
* President of the Jury for '''Caméra d'Or''' Award, Cannes Festival (2005)
* Fellowship of the British Film Institute (2005)
* Gold Leopard of Honor, Locarno film festival (2005)
* [[Henri Langlois|Prix Henri Langlois]] Prize (2006)
 
==Film festival work==
[[Image:Cannes FF Palace.jpeg|thumb|right|Kiarostami was a member of the jury at the 1993 [[Cannes Film Festival]] and in 2005 president of the Camera d'or Jury]]
Kiarostami was a member of the jury at numerous festivals, most notably the [[Cannes Film Festival]] in 1993, 2002 and 2005. He was also the president of the Camera d'or Jury in Cannes Film Festival 2005.
 
Some representatives:<ref name="IndiePix">{{cite web
| url =http://www2.indiepix.net/creator/creator.pl?id=1503
| title = Abbas Kiarostami
| accessdate=2007-02-23
| date = 2004
| author =
| publisher = IndiePix
}}</ref><ref name="CannesAK">{{cite web
| url =http://www.festival-cannes.fr/perso/index.php?langue=6002&personne=1114
| title = Abbas Kiarostami
| accessdate=2007-02-23
| date =
| author =
| publisher = Cannes Film Festival
}}</ref>
*[[Venice Film Festival|Venice]] in 1985
*[[Locarno International Film Festival|Locarno]] in 1990
*[[Cannes Film Festival|Cannes]] in 1993
*[[San Sebastian International Film Festival|San Sebastian]] in 1996.
*[[Cannes Film Festival|Cannes]] in 2002
*[[São Paulo International Film Festival]] (2004)
*[[Cannes Film Festival|Cannes]] in 2005 (president)
 
==Books by Kiarostami==
*Abbas Kiarostami, ''Abbas Kiarostami'': Cahiers du Cinema Livres ([[October 24]], [[1997]]) ISBN 2866421965.
*Abbas Kiarostami, ''Walking with the Wind (Voices and Visions in Film)'': English translation by Ahmad Karimi-Hakkak and Michael C. Beard, Harvard Film Archive; Bilingual edition ([[February 28]], [[2002]]) ISBN 0674008448.
*Abbas Kiarostami, ''10 (ten)'': Cahiers du Cinema Livres ([[September 5]], [[2002]]) ISBN 2866423461.
*Abbas Kiarostami, Nahal Tajadod and Jean-Claude Carrière ''Avec le vent'': P.O.L. ([[May 5]], [[2002]]) ISBN 2867448891.
*Abbas Kiarostami, ''Le vent nous emportera'': Cahiers du Cinema Livres ([[September 5]], [[2002]]) ISBN 286642347X.
*Abbas Kiarostami, ''La Lettre du Cinema'': P.O.L. ([[December 12]], [[1997]]) ISBN 2867445892.
 
== See also ==
[[Image:Kiarostami-poetry.jpg|right|thumb|Book cover: ''Walking with the wind'' (2002)]]
;General:
*[[Intellectual Movements in Iran]]
*[[Cinema of Iran|Iranian cinema]]
;Kiarostami's assistants:
*[[Jafar Panahi]]
*[[Hassan Yektapanah]]
*[[Bahman Ghobadi]]
;Kiarostami's films
*[[Filmography of Abbas Kiarostami]]
== Notes and references ==
{{reflist|2}}
 
==Secondary literature==
[[Image:Cinema kiarostami.jpg|right|frame|''The Cinema of Abbas Kiarostami'' by Alberto Elena]]
'''Books:'''
*Erice-Kiarostami. ''Correspondences'', 2006, ISBN 8496540243, catalogue of an exhibition together with the spanish filmmaker [[Víctor Erice]]
*Alberto Elena, ''The Cinema of Abbas Kiarostami'', Saqi Books 2005, ISBN 0863565948
*Mehrnaz Saeed-Vafa, Jonathan Rosenbaum, ''Abbas Kiarostami'' (Contemporary Film Directors), University of Illinois Press 2003 (Paperback), ISBN 0252071115
*[[Jean-Luc Nancy]], ''The Evidence of Film - Abbas Kiarostami'', Yves Gevaert, Belgium 2001, ISBN 2930128178
*Jean-claude Bernardet, ''Caminhos de Kiarostami'', Melhoramentos; 1 edition (2004), [[ISBN]] 978-8535905717
*Marco Dalla Gassa, ''Abbas Kiarostami'', Publisher: Mani (2000) [[ISBN]] 978-8880121473
*Youssef Ishaghpour, ''Le réel, face et pile: Le cinéma d'Abbas Kiarostami '', Farrago (2000) [[ISBN]] 978-2844900630
*Alberto Barbera and Elisa Resegotti (editors), ''Kiarostami'', Electa ([[April 30]], [[2004]]) [[ISBN]] 978-8837023904
*[[Slavoj Žižek]], ''Lacan: The Silent Partners (Wo Es War)'', Verso ([[April 15]], [[2006]]) [[ISBN]] 978-1844675494
'''Articles:'''
*Kretzschmar, Laurent "Is Cinema Renewing Itself?", ''Film-Philosophy''. vol. 6 no. 15, July 2002.
*Rosenbaum, Jonathan, "Lessons from a Master," ''Chicago Reader'', [[June 14]], [[1996]] (Other early ''Chicago Reader'' articles on Kiarostami: [[October 23]], [[1992]] and [[September 29]], [[1995]])
 
==External links==
* {{imdb name|id=0452102|name=Abbas Kiarostami}}
* {{senses|id=directors/02/kiarostami|name=Abbas Kiarostami}}
* [http://zeitgeistfilms.com/directors/akiarostami/ Biography of Abbas Kiarostami] at [[Zeitgeist Films]]
* [http://www.iranheritage.com/kiarostamiconference/abstracts_full.htm Abbas Kiarostami: Image, Voice and Vision], Conference Abstracts (2005)
* {{sp icon}} [http://www.trendesombras.com/num6/art_correspondencias.asp Erice/Kiarostami: ''Correspondencias'']
* {{sp icon}} [http://www.trendesombras.com/num3/art_tesalonica2004.asp Erice, Angelopoulos, Kiarostami]
*[http://www.wsws.org/articles/2000/jun2000/sff8-j12.shtml The compassionate gaze] 2000 [[San Francisco International Film Festival]]
 
{{DEFAULTSORT:Kiarostami, Abbas}}
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{{Persondata
|NAME=Kiarostami, Abbas
|ALTERNATIVE NAMES=
|SHORT DESCRIPTION=[[Film director]], [[photographer]] and [[poet]]
|DATE OF BIRTH=[[June 22]], [[1940]]
|PLACE OF BIRTH=[[Tehran]], [[Iran]]
|DATE OF DEATH=
|PLACE OF DEATH=
}}
 
 
[[Category:Abbas Kiarostami]]
[[Category:1940 births]]
[[Category:Living people]]
[[Category:Iranian people]]
[[Category:Persian people]]
[[Category:Iranian film directors]]
[[Category:Iranian screenwriters]]
[[Category:Iranian poets]]
[[Category:Iranian photographers]]
[[Category:Persian-language film directors]]
[[Category:People from Tehran]]
[[Category:University of Tehran alumni]]
[[Category:Légion d'honneur recipients]]
[[Category:Palme d'Or winners]]
[[Category:Fellini Gold Medalists]]
[[Category:Akira Kurosawa Award winners]]
[[Category:Roberto Rossellini Prize recipients]]
[[Category:Konrad Wolf Prize recipients]]
[[Category:François Truffaut Award recipients]]
[[Category:Leopard of Honour recipients]]
 
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[[fr:Abbas Kiarostami]]
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[[ja:アッバス・キアロスタミ]]
[[no:Abbas Kiarostami]]
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[[tg:Аббос Киёрустамӣ]]
[[zh:阿巴斯·奇亞羅斯塔米]]
Retrieved from "https://en.wikipedia.org/wiki/Abbas_Kiarostami"