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	Abbas Kiarostami - Wikipedia, the free encyclopedia
		Abbas Kiarostami (عباس کیارستمی in Persian) (born June 22, 1940 in Tehran) is one of the most influential and controversial post-revolutionary Iranian filmmakers and one of the most highly celebrated directors in the international film community of the last decade.
		Although Kiarostami made several award-winning films early in his career, it was after the Iranian Revolution that he earned a highly esteemed reputation on the stage of world cinema.
		Kiarostami belongs to a generation of filmmakers who created the so called "New Wave", a movement in Iranian cinema that started in the 1960s, before the revolution of 1979 and flourished in the 1970s.
	en.wikipedia.org /wiki/Abbas_Kiarostami (487 words)

	Abbas Kiarostami- Not A Martyr By Stuart Jeffries
		Abbas Kiarostami- Not A Martyr By Stuart Jeffries
		Kiarostami cut the soundtrack to this scene after complaints from religious groups angered that the recital of the prayer was robotic and ultimately not very devout.
		Kiarostami managed to secure the agreement of the judge (another Makhmalbaf devotee) to film the trial, where Sabzian was to be accused of not repaying money he had borrowed from the family to pay for a taxi and a gift for his son.
	www.countercurrents.org /arts-jeffries250405.htm (3348 words)

	Abbas Kiarostami
		To Abbas Kiarostami, it is all one and the same phenomenon - a captured moment in the evolving document of life.
		In the remarkable, long, static shot that has come to define Abbas Kiarostami's signature ending, Hossein, unwilling to accept Tahereh's continued silence, follows her down the hill, through the olive trees, and into the open field, pleading his case for marriage.
		Abbas Kiarostami creates a visually austere and serenely contemplative examination of life in A Taste of Cherry: the unchanging, barren scenery outside the car window; the desolate, winding roads leading to the burial plot; the suffocating dust of the construction site.
	www.filmref.com /directors/dirpages/kiarostami.html (1921 words)

	Chicago Reader Movie Review
		I'm not alone in placing Abbas Kiarostami in the company of such figures -- though he's been luckier than most of them so far, shooting with such tiny budgets and crews and commanding enough of an international audience that he's been able to make precisely the films he chooses, even in Iran.
		Kiarostami's 10, opening this week at the Music Box, may well represent one of these disjunctions, for in it he seems to have abandoned much of what he's done best in terms of visual composition, richness of detail in sound and image, diversity of characters and landscapes, and storytelling.
		Kiarostami's mastery of his material also remains evident throughout, even if it's less obvious; the best example is his capacity to make the numerous jump cuts in the opening sequence virtually invisible.
	www.chicagoreader.com /movies/archives/2003/0403/030411.html (2537 words)

	Auto-Critique: Abbas Kiarostami's "10 on Ten"
		In a surprise maneuver, master filmmaker Abbas Kiarostami announced after the completion of his gorgeous "The Wind Will Carry Us" in 2000 that he was joining the DV revolution and would hang up his 35mm cameras in favor of pursuing digital filmmaking exclusively.
		Kiarostami's lessons in "10 on Ten" are illuminating and fascinating (if occasionally a tad rote for the avid student of film theory), but if you're expecting "The Wind Will Carry Us Further," you're out of luck.
		Kiarostami's passion for the technology is evident throughout his lessons, and infectious, but this fervor is tarnished somewhat by a stubborn idealism that, at times, borders on naiveté.
	www.indiewire.com /movies/movies_050222ten.html (675 words)

	Abbas Kiarostami
		Abbas Kiarostami was already 50 back in 1990 when French critics encountered his work for the first time.
		In interviews Kiarostami has admitted that neo-realism had a deep impact on him as a young man. Kiarostami is at the best of times a peculiar and fascinating interviewee, using his considerable eloquence and charm to evade seemingly straight-forward questions that somehow seem to disconcert him.
		Kiarostami's habit of working without a script, of using non-professional actors and the way in which the seemingly trivial events of everyday life assume global significance in his films are the elements retained from neo-realism, but the essence of his oeuvre lies elsewhere.
	www.iol.ie /~galfilm/filmwest/32abbas.htm (1721 words)

	Human Rights Watch International Film Festival - Abas Kiarostami U.S. Visa Refusal
		Kiarostami, 62, who has been to the United States seven times in the course of his career, was told this month at the United States Embassy in Paris that the earliest he could get permission to come into the country was December.
		Kiarostami applied at the American Embassy in Paris for permission to attend the opening of his latest film, "Ten," at the New York Film Festival last weekend.
		I am appalled and ashamed that Abbas Kiarostami was categorically refused a visa by the U.S. government and there is “not permitted” to accompany his film to this year’s New York Film Festival.
	www.hrw.org /iff/2002/kiarostami.html (1205 words)

	10 on Ten review - movie review of the Abbas Kiarostami film starring Abbas Kiarostami
		Ten masterly lessons of cinema by Abbas Kiarostami, whose metaphysical work is characterized by his unique poetry and his sense of purity.
		All of Kiarostami's cinema tend towards the research of truth, the ideal which concerns the non-professional actor's acting (who can thus escape from "formatting") as much as the detached situations of the artifice.
		For Kiarostami, the intellectual, it is unthinkable that his characters speak the same language as him.
	www.plume-noire.com /movies/reviews/10onten.html (520 words)

	Zeitgeist Films \| Abbas Kiarostami (Site not responding. Last check: 2007-10-22)
		Though Kiarostami emerged in the West as a major filmmaker in the early ‘90s—with films like CLOSE-UP and THROUGH THE OLIVE TREES—he had already been making films in Iran for two decades.
		Born on June 22nd 1940 in Tehran, Kiarostami was interested in the arts from an early age.
		In 1996 he was honored with a retrospective at the Film Society of Lincoln Center, New York, and in 1997 he came to the Cannes Film Festival at the eleventh hour with TASTE OF CHERRY, only to walk away with the grand prize, becoming the first Iranian director ever to win the Palme d’Or.
	zeitgeistfilms.com /directors/akiarostami (557 words)

	Guardian Unlimited \| Arts features \| Feature: Abbas Kiarostami's theatre debut
		Abbas Kiarostami's stage debut sees the acclaimed Iranian film-maker tackle the gulf between the west and Islam.
		Abbas Kiarostami, Iran's most celebrated cultural export, is clearly ruffled.
		So involved are most of the men, women and children in what is happening on stage that they are generally oblivious to the camera, or, says Kiarostami, "they would brush it away because it was blocking their view".
	www.guardian.co.uk /arts/features/story/0,11710,997557,00.html (1208 words)

	Abbas fabulous - theage.com.au
		Kiarostami is in Melbourne at the moment (it is his first time in Australia) as a special guest of the film festival, where a selection of his films is being screened.
		Kiarostami is the flag bearer of what is commonly called the "new wave" of Iranian cinema.
		Kiarostami still lives in Tehran and says he would only ever consider trading his Iranian passport to become a Ugandan citizen (he lived in Uganda while shooting ABC Africa, a documentary about the war-torn country struggling with the AIDS epidemic).
	www.theage.com.au /articles/2003/08/03/1059849264112.html (1458 words)

	Chicago Reader Movie Review
		Kiarostami seems to feel the same way about the false rumors surrounding the film after it was made, most of them having to do with its treatment of the theme of suicide.
		Kiarostami filmed each actor alone, sometimes without any of his crew present, sitting in the passenger seat while Ershadi drove or himself driving with one of the other actors as a passenger.
		Yet Kiarostami's determination to set this film exclusively in exteriors, in terms of what we hear as well as see--refusing to enter the museum or Badii's flat and leaving the windows of Badii's Range Rover wide open--inflects this sense of solitude with an equally strong and continuous sense of being in the world.
	www.chicagoreader.com /movies/archives/1998/0598/05298.html (3366 words)

	Abbas Kiarostami
		Stressing a natural approach to his material and building his film on endless repetition, Kiarostami succeeded in making a film from a child's point of view that refused to adopt the condescending, cutesy tone of most films made about children, and he earned kudos for his work.
		Kiarostami next won acclaim for Through the Olive Trees, which was screened in competition at the 1994 Cannes Festival.
		Kiarostami's next major project was more of a lighthearted affair: he produced the script for Jafar Panahi's The White Balloon (1995), a children's film told from the point of view of a young girl searching a marketplace to buy a goldfish in time for New Year's Eve.
	www.djangomusic.com /actor_bio.asp?pid=P191140 (561 words)

	V&A - Abbas Kiarostami Festival (Site not responding. Last check: 2007-10-22)
		Abbas Kiarostami is the most internationally celebrated Iranian cultural figure of the past and current century.
		The festival of Abbas Kiarostami's work will raise awareness of the dynamics of cultural creativity in today's Iran, and is organised by the Iran Heritage Foundation, as part of their tenth anniversary celebrations.
		Kiarostami is perhaps best known for his films; this three day conference however explores the whole range of his work, including his photography and poetry.
	www.vam.ac.uk /activ_events/events/Kiarostami (992 words)

	2000 San Francisco International Film Festival--Part 8 The compassionate gaze Iranian filmmaker Abbas Kiarostami at the ...
		Abbas Kiarostami was on hand to receive the film festival's Akira Kurosawa Award, for lifetime achievement in cinema.
		Kiarostami replied that “the title of the film is the title of a poem by an Iranian poet [Furugh Farrukhzad (1935-67)],” which treats the central conflict in the film, “life in the face of death.” The director observed that he had just come back from a trip to Africa where he had filmed AIDS patients.
		Kiarostami suggested that still photography, video and film were all elements of one spectrum.
	www.wsws.org /articles/2000/jun2000/sff8-j12.shtml (3733 words)

	THE IRANIAN: Iranian film, Abbas Kiarostami, interview
		Kiarostami: When I was at the Cannes festival and was awarded the prize, Catherine Deneuve came forward to give it to me. As a tradition in that ceremony, she hugged and kissed me. As you can imagine, such a demonstration of affection in public would have been an absolute disaster in Iran!
		Kiarostami: This is a very difficult film and the reaction is, of course, much better than I expected, and although I can see how people can resign half an hour into the film, I have also seen enthusiastic responses where the film strikes a chord with the audience.
		Kiarostami: The reason I included this flout was because I wanted to show death, but I didn't want to show the person actually experiencing the tortures of the process although that would have been the easiest for me to show, with the actor tormenting himself in preparation for death.
	www.iranian.com /Arts/Aug98/Kiarostami (5707 words)

	village voice > film > The Wind Will Carry Us; Abbas Kiarostami Retrospective; Girl on the Bridge by J. Hoberman
		Kiarostami's sense of humor feels as dry as the countryside he depicts; the film is in many regards a comedy.
		(Kiarostami, as made clear by his recent show of photographs in a Chelsea gallery, is a landscape artist.) Confident in its lack of consequence, the film far surpasses the strained allegory that dogged Kiarostami's more stilted and schematic official masterpiece, Taste of Cherry.
		The 59-year-old Kiarostami may be the last international filmmaker to grow up under the influence of Italian neorealism—its tendencies may be seen in his use of nonactors and "ordinary" situations, his uninflected camera style and eschewal of mood music, his interest in children and taste for open endings.
	www.villagevoice.com /film/0030,hoberman,16663,20.html (1369 words)

	AboutFilm.Com - Close-Up (1990)
		Abbas Kiarostami, the internationally-renowned director of A Taste of Cherry, creates a fascinating blend of documentary and fiction in Close-Up, a film that was not shown in the United States until just last year (it may pop up in selected cities this year, so be on the lookout).
		Kiarostami obtains permission from the court to film the trial (Sabzian is being tried for fraud) and records the testimony of the Ahankhah's yougest son Merhdad and Hossain Sabzian.
		Kiarostami also chose not to redub the sound which reminds us that we are not only watching a film, but watching life happen as well.
	www.aboutfilm.com /movies/c/close-up.htm (808 words)

	Abbas Kiarostami
		Born in Teheran in 1940, Abbas Kiarostami left school early to dedicate himself to his passion: drawing and painting.
		Abbas Kiarostami's cinema then evolved towards a more social and humanistic approach that parallels the issues of freedom in his country.
		The international recognition of Abbas Kiarostami's work testifies to the intrinsic value of his cinema, which has long since gone beyond the frontiers of his country to achieve a truly universal status.
	www.filmfestivals.com /people/people_kiarostami.htm (307 words)

	Al-Ahram Weekly \| Culture \| Strategic lies
		Abbas Kiarostami, head of this year's jury, spoke to the press on Tuesday.
		Abbas Kiarostami, who spearheaded the revival of Iranian cinema, is one of the world's most distinguished directors.
		Although Kiarostami dislikes the treatment of sex and violence in Western cinema he is a fan of Quintin Tarantino, whose ironic treatment of both is most apparent in Pulp Fiction (1994).
	weekly.ahram.org.eg /2001/556/cu1.htm (1078 words)

	The History of Cinema. Abbas Kiarostami: biography, reviews, links
		Abbas Kiarostami is the leading Iranian director of the generation that stormed the West in the 1990s.
		Kiarostami is making a movie about the impostor and interviews both the family and the suspect.
		The judge is surprised that such a silly case draws the attention of a film-maker, but Kiarostami explains that this is the case of somebody who pretended to be a director and that is intriguing for a director.
	www.scaruffi.com /director/kiarosta.html (2923 words)

	Iranian Cinema: Abbas Kiarostami
		bbas Kiarostami was born on June 22nd 1940 in Tehran, he was interested in the arts from an early age.
		The department's debut production was Kiarostami's own first film, the twelve-minute "Bread and Alley" (Naan va Koche), a charming, neo-realist is about a small boy's perilous walk home from school.
		Kiarostami is also a noted photographer and poet.
	www.iranchamber.com /cinema/akiarostami/abbas_kiarostami.php (533 words)

	Salon.com Arts & Entertainment \| Iran's leading filmmaker denied U.S. visa
		Director Abbas Kiarostami, one of international cinema's biggest names, is blocked from attending the New York Film Festival and speaking at Harvard.
		Abbas Kiarostami, the Iranian filmmaker who is widely considered one of the world's greatest living directors, has been denied a visa to enter the United States.
		Kiarostami, 62, has written and directed some 30 movies since the early 1970s, and has been compared by critics to such titans of international cinema as Ingmar Bergman and Akira Kurosawa.
	www.salon.com /ent/movies/2002/09/27/kiarostami (678 words)

	Kiaros.html
		Kiarostami's introduction to film came in 1969 when he helped to create the filmmaking department at the Institute for Intellectual Development of Children and Young Adults.
		More than just critical acclaim, however, Kiarostami has also received the respect and praise from many of his well-known contemporaries, such as Jean-Luc Godard and Akira Kurosawa, who is quoted as saying "I believe the films of Iranian filmmaker Abbas Kiarostami are extraordinary.
		To Abbas Kiarostami, it is all one and the same phenomenon - a captured moment in the evolving document of life" (Acquarello, 2000).
	www.english.emory.edu /Bahri/Kiaros.html (1401 words)

	Guardian Unlimited Film \| Interviews \| Abbas Kiarostami
		Acclaimed Iranian director Abbas Kiarostami spoke about working with non-actors, losing enthusiasm for digital video and why his car is his best friend, before receiving the Fellowship of the British Film Institute from Anthony Minghella.
		Abbas Kiarostami (speaking through interpreter Vali Mahlouji): I would like to welcome everybody here, especially my very good friends who I've just seen in the audience.
		There's a great tradition at the BFI of giving fellowships and I thought one of the great jobs that I'd have at the BFI would be to give them out on a regular basis, but this is the first one that I'm giving out in my tenure.
	film.guardian.co.uk /interview/interviewpages/0,6737,1476326,00.html (4679 words)

	Abbas Kiarostami
		Abbas Kiarostami is the most influential and controversial post-revolutionary Iranian filmmaker and one of the most highly celebrated directors in the international film community of the last decade.
		Although Kiarostami made several award-winning films early in his career, it was after the revolution that he earned a highly esteemed reputation on the stage of world cinema.
		Kiarostami, in his movement towards a plotless cinema and a minimal and elliptic compressed narrative, has also used the dark screen in a number of his films, serving similar goals in terms of the audience’s involvement.
	www.sensesofcinema.com /contents/directors/02/kiarostami.html (4458 words)

	Abbas I -- Encyclopædia Britannica
		After months of intense international pressure, Mahmoud Abbas, also known as Abu Mazen, was installed as Palestinian prime minister on April 30, 2003.
		As a condition for pursuing their road map to peace, the quartet (U.S., European Union, Russia, and UN) had insisted on the appointment of a prime minister with wide powers in a move to circumvent Palestinian Pres.
		Palestinian leader Mahmoud Abbas was one of the cofounders of Fatah, which became the main arm of the Palestine Liberation Organization (PLO).
	www.britannica.com /eb/article-9003231 (758 words)

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