Through the Olive Trees Page #5

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
727 Views


She got annoyed.

Why?

I don't know.

Perhaps she thought

I wasn't serious enough,

that I wanted to spread rumors,

that I didn't want her really,

that I didn't deserve her.

Fine and then?

That evening I went to change my clothes

and Eynollah told me not to bother

coming to work the next day.

I think she asked Eynollah

to fire me

and then offered him a good worker

to replace me.

That was the night

the earthquake struck.

Eynollah's family

- God bless them...

and the family of this girl,

Tahereh, were killed

- Tahereh's parents?

- Yes.

- And then?

- They all perished.

On the third day of mourning,

I went to the cemetery.

There were so many people there

that I wasn't able to see her.

On the 7th day of mourning,

I saw her at her parents' grave.

I wanted to speak to her,

but her grandmother

asked me to pray for the dead.

Before I was able

to finish my prayer.

They had disappeared.

You haven't seen her since?

- Never?

- No.

Only once,

on the 40th day of mourning.

And what did you do?

On the 40th day, I went back

to the cemetery.

Her grandmother was there.

I said to myself

that these poor people

knew now that the world is cruel,

and that life is short,

that they wouldn't disappoint me.

If these people

had treated me better earlier

perhaps all this

wouldn't have happened to them.

The earthquake may not have happened.

I thought

that the sighing in my heart

had destroyed all these houses.

Could I buy myself a house

just like that?

Besides, as my heart was heavy.

I wanted to relieve my sorrow

and pour it out on them.

I said to them:

"Now that nobody

has a house any more,

here we are all

on an equal footing.

I haven't got a house,

but neither have you!"

I see.

Since I was 11 years old

I had worked in other people's houses.

It was your trade?

My trade?

I worked with a mason.

What exactly did you do?

I laid bricks,

earth bricks or cement bricks.

I did that sort of work.

People have always said to me:

"No house, no woman."

Since I didn't have a house,

no one would give me a woman

to marry.

It takes time to build a house.

And you haven't seen her since?

I have.

Not this Thursday,

but the one before,

the day I saw you on the set.

And?

I asked

for her hand in marriage again.

I didn't want to see them again,

but I decided to go anyway.

Where?

To the cemetery. I saw them there.

Is he here again?

He never leaves us alone!

He won't leave us in peace!

- The key?

- Go on, I'm coming.

- Hello

- Are you well?

- Yes, thank God!

- Can I have your answer?

- The answer's no.

Apparently your granddaughter

is willing. So why not?

You want my answer?

Well, it's no!

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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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