A little boy makes his way home clutching a loaf of bread. In an alley, a stray dog blocks his path.
“The mother of all my films.”
Abbas Kiarostami
The faces of a hundred and fourteen famous Iranian actresses and French star Juliette Binoche as they watch a filmed adaptation of a tragic twelfth-century romance by Nezami Ganjavi in a movie theater.
Kiarostami takes meta-narrative gamesmanship to masterful new heights in the final installment of his celebrated Koker trilogy.
“The disarming centerpiece of a trilogy of films by Abbas Kiarostami, this work heads towards the same place that Roberto Rossellini set out for in the 1950s.
Based upon a peculiar news story Kiarostami stumbled upon, the film follows an unemployed youth from Teheran called Hossein Sabzian, as he convinces an entire family that he is the well-known filmmaker Mohsen Makhmalbaf.
“Motion is the opening of the motionless, it is presence insofar as it is truly present, that is to say coming forward, introducing itself, offered, available, a site for waiting and thinking, presence itself becoming a passage toward or inside presence.
“Death is part of life, instead of making life part of (or parted from) something other than itself.
“For decades, classical film theory pondered on the appropriate metaphor to explain the screen: a window or a frame? Was the screen a window on the world, therefore reality captured, or, a frame, reality constructed, a painting and its frame?
Eight-year-old Ahmed has mistakenly taken his friend Mohammad’s notebook. He wants to return it, or else his friend will be expelled from school. The boy determinedly sets out to find Mohammad’s home in the neighbouring village.
