Abbas Kiarostami (Persian: عباس کیارستمی [ʔæbˌbɒːs kijɒːɾostæˈmi] (
listen); 22 June 1940 – 4 July 2016) was an Iranian film director, screenwriter, poet, photographer, and film producer. An active filmmaker from 1970, Kiarostami had been involved in the production of over forty films, including shorts and documentaries. Kiarostami attained critical acclaim for directing the Koker trilogy (1987–1994), Close-Up (1990), The Wind Will Carry Us (1999), and Taste of Cherry (1997), which was awarded the Palme d’Or at the Cannes Film Festival that year. In later works, Certified Copy (2010) and Like Someone in Love (2012), he filmed for the first time outside Iran: in Italy and Japan, respectively. His films Where Is the Friend’s Home?, Close-Up, and The Wind Will Carry Us were ranked among the 100 best foreign films in a 2018 critics’ poll by BBC Culture. Close-Up was also ranked one of the 50 greatest movies of all time in the famous decennial Sight & Sound poll conducted in 2012.
Abbas Kiarostami (Persian: عباس کیارستمی [ʔæbˌbɒːs kijɒːɾostæˈmi] (listen); 22 June 1940 – 4 July 2016) was an Iranian film director, screenwriter, poet, photographer, and film producer. An alert filmmaker from 1970, Kiarostami had been dynamic in the production of exceeding forty films, including shorts and documentaries. Kiarostami attained critical acclaim for directing the Koker trilogy (1987–1994), Close-Up (1990), The Wind Will Carry Us (1999), and Taste of Cherry (1997), which was awarded the Palme d’Or at the Cannes Film Festival that year. In highly developed works, Certified Copy (2010) and Like Someone in Love (2012), he filmed for the first get older outside Iran: in Italy and Japan, respectively. His films Where Is the Friend’s Home?, Close-Up, and The Wind Will Carry Us were ranked in the midst of the 100 best foreign films in a 2018 critics’ poll by BBC Culture. Close-Up was as a consequence ranked one of the 50 greatest movies of everything time in the famous decennial Sight & Sound poll conducted in 2012.
Kiarostami had worked extensively as a screenwriter, film editor, art director, and producer and had designed balance titles and marketing material. He was next a poet, photographer, painter, illustrator, and graphic designer. He was share of a generation of filmmakers in the Iranian New Wave, a Persian cinema pursuit that started in the late 1960s and emphasised the use of poetic dialogue and allegorical storytelling dealing similar to political and philosophical issues.
Kiarostami had a reputation for using child protagonists, for documentary-style narrative films, for stories that accept place in rural villages, and for conversations that unfold inside cars, using stationary mounted cameras. He is after that known for his use of Persian poetry in the dialogue, titles, and themes of his films. Kiarostami’s films contain a notable degree of ambiguity, an odd mixture of simplicity and complexity, and often a mixture of fictional and documentary elements. The concepts of bend and continuity, in adjunct to the themes of enthusiasm and death, play a major role in Kiarostami’s works.