Films byTexts by Abbas Kiarostami
The Bread and Alley
Abbas Kiarostami, 1970, 10’

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


Abbas Kiarostami, 2008, 92’

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.


Manifesto NL EN

Ik geloof in een vorm van cinema die meer mogelijkheden en tijd biedt aan zijn toeschouwers. Een halfgecreëerde cinema, een onvoltooide cinema die door de creatieve geest van het publiek voltooid raakt en zo leidt tot honderden films. Het behoort toe aan de toeschouwers en stemt overeen met hun eigen wereld.

Manifesto NL EN

I believe in a type of cinema that gives greater possibilities and time to its audience. A half-created cinema, an unfinished cinema that attains completion through the creative spirit of the audience, so resulting in hundreds of films. It belongs to the members of that audience and corresponds to their own world.

Through the Olive Trees
Abbas Kiarostami, 1994, 103’

Kiarostami takes meta-narrative gamesmanship to masterful new heights in the final installment of his celebrated Koker trilogy.

Life and Nothing More...
Abbas Kiarostami, 1992, 95’

“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.

Abbas Kiarostami, 1990, 98’

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.

Taste of Cherry
Abbas Kiarostami, 1997, 95’

“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.

Abbas Kiarostami, 2002, 91’

“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?

Where Is the Friend’s Home?
Abbas Kiarostami, 1987, 87’

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.