Through the Olive Trees Page #6

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
736 Views


What does that mean?

Try to think of me too!

Everyone says

she wants to get married

and you stubbornly keep on saying:

"The answer's no."

The answer's no!

Give me at least two reasons.

Explain it to me.

You're illiterate,

you've got no home!

The important thing is manners,

intelligence and understanding.

You may be kind and understanding,

but you need a house!

She chose me.

You're stopping us living together.

The answer's no.

You've got no house, you're illiterate,

you're empty-headed.

Mind your own business!

You won't have her!

Stop thinking about her!

Otherwise,

I'll make your life hell!

If her parents were still alive,

I'd at least have a little hope...

But with you, nothing!

If they were alive,

they wouldn't give her to you.

Even them!

Are you sure that's also the way

your granddaughter feels?

My answer's no!

Cut!

Wait a minute!

What are you doing there?

Run fast, come over here...

A little faster!

Come quickly over here.

Back here...

We're filming

Sound.

Camera.

Scene 7, shot 2, take 2

Action!

After I take Tahereh back,

can I go and fetch the one...

That...

Who?

After I take Tahereh back

can I go and fetch Poursadeghi?

- Who's Poursadeghi?

- The girl with green eyes.

Ask Tahereh, not me.

She's better for the part.

But I can't do anything

if she won't talk.

She doesn't listen,

she doesn't act...

It's obvious. He's the problem!

With Azim,

there wasn't any problem.

Let's avoid the problems.

- How?

- Do what you can.

- I'm not sure I'll be able to.

- Try anyway.

- All right.

Hossein, fetch my cigarettes

from the car.

- What?

- Fetch my cigarettes.

All right.

- Hello Bagheri.

- Hello.

- How are you?

- Very well, thanks.

I'm delighted.

That smells good.

What are you cooking up for us?

Mirza ghassemi.

The crew asked for it for dinner.

Bagheri?

Yes?

What was the dish

with the sharp taste?

That was torshi tareh.

How do you make that?

- Torshi Tareh?

- No. In fact...

- I'd rather you told me...

- What?

Isn't your wife jealous

of your cooking skills?

She used to be once, yes.

Now she isn't here any more.

- Really?

- Yes. She's dead.

She was killed in the earthquake.

God bless her.

- You're alone now?

- Alone, yes.

- Cigarette?

- No, I just had one.

Bagheri?

Yes...?

I mean, now...

you're not thinking

of finding a companion?

I don't want to remarry.

Why? You're all alone.

I lived with her for fifty years.

She gave me six children.

It wouldn't be right.

But your children

have left home now.

It would be nice for you

to have a companion.

My life's coming to an end...

You're joking,

you're in your prime!

A lot of women here have

lost their husbands,

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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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