Through the Olive Trees Page #3

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


Let's go.

Ready?

Shot 1, take 2.

Very good... Stay where you are.

- Hello

- Hello

God be with you...

Cut!

Speak! Answer her!

When she greets you,

you say your lines!

Take the sack and go down.

Fardhad...

When he greets you,

look at him for a second.

And then answer him.

Let's go.

- Sound?

- Ready.

Camera?

Shot 1, take 3.

Very good, stay where you are!

- Hello

- Hello

- Hello

- Hello

God be with you...

Why don't you say anything?

Don't you want to say it?

Have you forgotten?

Come down.

Take down the sack.

Take it and go down!

No sir, I can't do it.

- What?

- I can't do it.

What's that supposed to mean?

Can you come here a minute?

- What?

- Will you come here a minute?

What's wrong?

I stammer.

What?

You were speaking fine earlier!

Yes... but...

When I speak to a girl...

I start stammering.

Right.

You can go.

Azim, wait,

we'll give you a lift.

- Mrs. Shiva...

- Yes?

Drive him back

and bring me Hossein.

Hossein? Who's that?

- Our Hossein, at the camp.

- All right.

Get in the car, I'll take you back.

- Mrs. Shiva

- Yes?

Rehearse with Hossein in the car,

and hurry!

- Time's short!

- All right.

Shall we put the camera away?

No, leave it,

they're coming back.

Children, you can't come over

to this side of the rope,

but can I cross it?

Yes!... No!... Yes!... No!...

- Well, can I or can't I?

- Come on!

- Haven't you got exams?

- No... Yes, we have!

What are you doing here then?

We came to see the shoot.

- You came all this way?

- Yes!

- How many kilometers is that?

- 9 kilometers!

I'd like to ask you a question.

Ask me!

Wait...

Children, can you tell me

what co-operation is?

I know! Can I answer?

- Calm down! You, answer me.

- Working with one another.

Working with one another.

Can I answer?

Helping one another.

It's my turn.

Yes, you now.

Now let's see if you can tell me...

the capital of Guilan.

- I know! I know!

- Rasht! Rasht! Rasht!

- Where's Rostam-Abbad?

- At Poshteh, in Guilan.

Near Roudbar

- And what's the specialty of Roudbar?

- Olives! Olives!

- Repeat your lines to me.

- But I know them.

- Don't worry.

- Say them, to put my mind at rest.

I put the sack of plaster there,

and go up the stairs.

Does it have to be plaster?

Remember you have to do

what we tell you!

Okay, fine...

I take the plaster and go upstairs.

Up there, a woman says:

"Good luck."

No, she says

"God be with you."

She says:
"God be with you."

And I answer:

"Give me water, I'm thirsty."

Is that right?

Does that suit you?

What's going on?

You're blocking the road!

We'll move.

With that car and your bricks,

how do I get past?

We'll have it moved soon.

I've got to get through!

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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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