Through the Olive Trees Page #2

Synopsis: The movie focuses on one of the events in Zendegi Edame Darad (1992), and explores the relationship between the movie director, and the actors. The local actors play a couple who got married right after the earthquake. In reality, the actor is trying to persuade the actress that they should get married.
Genre: Drama
Director(s): Abbas Kiarostami
Production: Artificial Eye
  5 wins & 5 nominations.
 
IMDB:
7.8
Rotten Tomatoes:
83%
G
Year:
1994
103 min
716 Views


- Yes.

Let me see.

You're supposed to wear

a peasant dress, not one like that.

My friend said it suited me.

It just needs taking in.

I tell her to change the dress,

and she says she'll take it in!

- You will wear a peasant dress!

- Just let me try it on.

You can't just do as you please.

You'll wear a peasant dress,

I won't say it again.

- She said it just needs taking in.

- I said no!

I'll try it on and you'll see.

It's hopeless,

she's so stubborn!

You have to wear a peasant dress.

Understand? A peasant dress!

No one wears them nowadays.

- Pour, please.

- Is that enough?

Yes, thank you very much.

What did you say?

No one

wears dresses like that any more.

What about your grandmother?

She wears one, a very pretty one.

They're for old people, not me.

I've seen young people wear them.

They suited them too.

But they wear peasants,

illiterate peasants!

Students don't wear them.

You saw that.

At school, of course not,

since those are the rules.

But you have to wear one for us.

How on earth did you bring her up?

She won't stop arguing!

I didn't bring her up, ma'am.

Her mother did, God bless her.

Is something wrong?

Tahereh, that's a pretty dress,

it suits you perfectly...

but it's not right for us.

It's the only one I've got.

It's all right, I'll sort it out.

- It's the only one I'll wear.

- She's looking for an excuse!

She can have her mother's dress,

from the chest.

Can I borrow a flower-pot?

- I will bring it back.

- Take that one.

No, I prefer this one.

The stem's too long on that one.

- Thank you. Good-bye.

- God go with you!

I'll fetch you at one o'clock.

All right, one o'clock.

Mrs. Shiva!

Hello, how are you?

You've only got one pot?

Yes. But Babak is bringing

two others.

- What's your name?

- Ahmad.

Ahmad what?

- Ahmadpour

Ahmand Ahmadpour.

Put it in the back.

Careful you don't break the stem.

- Mind the stem!

- All right.

And the flower too.

Hello

- They're all dry!

- This is all they had.

Put them in the back

with the others.

Thanks, boys.

Where are you going?

We're going to school.

We've got exams.

- I'll give you a lift.

- Thanks but it's just over there.

In the tents.

Oh, okay. Good-bye then.

Do you want to come to the set,

after your exams?

Yes...

- Do you know where?

- Koker.

- That's right. Come when you want...

- Okay. Good-bye.

Scene 4, shot 1, take 1.

Action!

Very good... Stay where you are.

- Hello

- Hello

- Hello

- God be with you

Cut!

Why don't you reply?

She says:
"God be with you,"

and then you say:"Take care."

Then you ask her for water

and that's all.

Take the sack of plaster

and go down.

Do you understand?

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Abbas Kiarostami

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 film-maker from 1970, Kiarostami had been involved in over forty films, including shorts and documentaries. Kiarostami attained critical acclaim for directing the Koker trilogy (1987–94), Close-Up (1990), Taste of Cherry (1997) – which was awarded the Palme d'Or at the Cannes Film Festival that year – and The Wind Will Carry Us (1999). In his later works, Certified Copy (2010) and Like Someone in Love (2012), he filmed for the first time outside Iran: in Italy and Japan, respectively. Kiarostami had worked extensively as a screenwriter, film editor, art director and producer and had designed credit titles and publicity material. He was also a poet, photographer, painter, illustrator, and graphic designer. He was part of a generation of filmmakers in the Iranian New Wave, a Persian cinema movement that started in the late 1960s and includes pioneering directors such as Bahram Beyzai, Nasser Taghvai, Ali Hatami, Masoud Kimiai, Dariush Mehrjui, Sohrab Shahid Saless and Parviz Kimiavi. These filmmakers share many common techniques including the use of poetic dialogue and allegorical storytelling dealing with political and philosophical issues.Kiarostami had a reputation for using child protagonists, for documentary-style narrative films, for stories that take place in rural villages, and for conversations that unfold inside cars, using stationary mounted cameras. He is also 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 unusual mixture of simplicity and complexity, and often a mix of fictional and documentary elements. The concepts of change and continuity, in addition to the themes of life and death, play a major role in Kiarostami's works. more…

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Submitted on August 05, 2018

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