Through the Olive Trees Page #4

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
723 Views


You'll get through, Inch' Allah,

in half an hour.

You're joking!

I've got tons of things to do!

So have we! We come from the provinces,

we slave here for others,

all that just to feed our families.

That's no answer.

How do I get past?

We'll ask a worker

to clear the road.

But just one!

That's not my problem.

I'm in a hurry!

If you're in a hurry,

your worker can help us.

Move the bricks

and clear the road!

- We'll all finish faster.

- It's not his job to do that!

- It's your job.

- It is not our problem!

- You're blocking the road!

You should clear it.

You move them.

Ma'am, I'm really sorry.

I'll gladly do anything you ask,

but not masonry...

I'm not in building any more.

I came to appear in your film.

I'll work as an actor,

but not as a mason!

- Yes?

- The road to Koker, please?

- Koker? It's behind you.

- The road's blocked.

Carry on a bit,

there's a track after the bridge.

Hey! Hossein!

Don't get too big-headed!

Ma'am...

Why ask someone else

for directions

when I'm from around here?

Since you no longer

touch plaster or masonry,

I thought you didn't

give directions either!

You only want only to be an actor...

so I asked someone else.

- Whose turn?

- Mine, sir!

You? No, you're too clever.

Too clever by half.

Right, children,

we'll see about the rest later.

- Mr. Panahi, are you ready?

- Yes.

Hossein, hurry up!

- Mr. Jafarian?

- Yes?

Mrs. Shiva, hurry up.

We're rehearsing.

Mr. Kheradmand, hurry.

Ready when you are.

Shot 1, take 1.

Very good... Stay where you are!

- Hello!

- Hello

Hello...

Cut!

Hossein,

why don't you say anything?

Pick up the sack

and go back down.

Farhad, don't look at him too much

as he goes up!

- Understand?

- Yes.

Shot 1, take 2

Very good... Stay where you are!

- Hello

- Hello

Hello...

Cut!

Mrs. Shiva,

didn't you rehearse with him?

Of course I did,

he was fine in the car.

Take the sack back down.

When I say hello to her,

she doesn't reply.

She refuses to greet me.

What am I supposed to do?

- She doesn't say hello?

- No.

Right, we've stopped

because of you.

So tell me, what' s going on

between you and that girl.

Tell me.

Well, it was at Eynollah's,

God bless him,

where I used to work.

This young girl used to live

in the house just opposite.

She was sitting on the stairs,

studying

She was there, just opposite me,

and to my eyes,

she looked so gentle,

the kind I could see myself marrying.

I conceived the notion

of marrying her.

Then I went back to work

until the end of the day.

When I went to wash

my hands and feet,

I saw her mother coming over

to the spring to fetch water.

I spoke to her about her daughter.

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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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