Abbas Kiarostami

Life passes. It moves forward through fading traces that remind us of our inescapable mortality, and our all-too-brief presence
The Palmes d’Or winner died of complications related to cancer.
I found Ghesseha touching, insightful, romantic in parts, jarring in others, but always human. I could connect to the characters, I found my body tense up during confrontations, relax at the resolutions, and love.
Despite its short length, The Aftermath is a full and significant film, and although bare and minimalist in look, it's crowded with expectation. It is also groundbreaking, as I've endlessly mentioned before, the first film from Egypt to be included in the Cinéfondation.
See you then mes amis or even before ;) Dear Reader I am writing for - we can find that out together in a month. I think
At this year's Dubai International Film Festival, I had the privilege of sitting with Mahamat-Saleh Haroun for a talk.
Machete, which turned veteran character actor Danny Trejo into a leading man, was a wild and wildly violent action-comedy, a spoof of exploitation films of the 1970s. So, obviously, is Machete Kills. How much of a spoof?
Ever since that day in 2011 when I read about this free-to-the-public festival with a magical ability to bring together masters and students in a most positive way, I have been eagerly awaiting a chance to attend.
Yes. There was actually a crucial detail that posponed the film for 17 years, because I meant to shoot it long ago and I
Fall is my favorite time of year, because it's when great film festivals begin blooming in the Arabian Gulf, just as autumn leaves drop off trees across Europe and the US.
This year's Toronto International Film Festival is the perfect programming blend of independent projects and big studio films, master filmmakers and some recently discovered greats, short films with heft and long movies with a light heart.
Films From Noah Baumbach ("Frances Ha"), Roger Michell ("Hyde Park on Hudson"), Michael Haneke ("Amour," which won the Palme
In an upcoming film titled Side By Side, Keanu Reeves as well as director Chris Kenneally and producer Justin Szlasa ask a provocative question: What does the future of filmmaking hold, and can the two formats -- digital and film -- both survive and thrive, "side by side"?
Behold: the cerulean sparkle of the Cote d'Azur, the endless waft of chain-smoked Gitanes over the Croisette, the private yachts. Cannes. And its megaton line-up has arched the eyebrow of even the most indifferent cineastes this year.
During the performance, I detected shifts of uneasiness and stifled sobs emanating from an audience largely comprised of Persian émigrés; the premiere was met with an irrepressible standing ovation.
Reading subtitles is a lot like riding a bicycle. Practice not only makes perfect, soon enough it's second nature so you don't even notice you're doing it. This particularly holds true when you're watching something great.
2011-04-25-farr.jpgWhen it comes to what I call "human-scale" films, the rest of the world is eating our lunch.
Or did they? Kiarostami may be returning over and over to his notion of the difference between copies and originals - and
The cacophony of voices here in the United States rises and the confusion continues. I will (and urge you to) stay away from all of these pundits, as much as possible and keep on trying to get more voices from in there.