A year that may be most remembered for the number of monumental artists who passed during its twelve months has just dealt one of its greatest losses: various Iranian news outlets are reporting that Abbas Kiarostami — the man who changed many a Western viewer’s conception of his native country with masterpieces such as Close-Up, Taste of Cherry, the Koker Trilogy, Like Someone in Love, Certified Copy, Ten, and The Wind Will Carry Us, to name but a few — has passed away at age 76 in Paris, following an extended battle with gastrointestinal cancer.
Pinpointing the particulars of Kiarostami’s oeuvre is a task too large for what is, admittedly, a quickly assembled obituary, and those who’ve known his work longer will do a more probing job at various places — how many non-Western artists earn this level of love upon passing away, anyhow? — so I’ll tread lightly by noting,...
Pinpointing the particulars of Kiarostami’s oeuvre is a task too large for what is, admittedly, a quickly assembled obituary, and those who’ve known his work longer will do a more probing job at various places — how many non-Western artists earn this level of love upon passing away, anyhow? — so I’ll tread lightly by noting,...
- 7/4/2016
- by Nick Newman
- The Film Stage
Palme d’Or-winning Iranian filmmaker Abbas Kiarostami, best known for films like “Taste of Cherry” (which earned him the Cannes accolade in 1997), “Close-Up” and “Certified Copy,” has died. He was 76.
The news was first reported by the Iranian Students’ New Agency (Isna) on Monday afternoon, who wrote “Abbas Kiarostami, who had travelled to France for treatment, has died.” Other news outlets, including The Guardian, have also begun reporting the news.
Born in 1940 in Tehran, the filmmaker first studied painting at the University of Tehran; later, he worked as a graphic designer and commercial director. Kiarostami credited a job in the film department at Kanun (the Centre for the Intellectual Development of Children and Young Adults) for shaping him into a filmmaker.
He made his first feature, “The Report,” in 1977, just two years before the 1979 revolution that saw so many of his creative peers leave the country. Kiarostami, however, stayed and...
The news was first reported by the Iranian Students’ New Agency (Isna) on Monday afternoon, who wrote “Abbas Kiarostami, who had travelled to France for treatment, has died.” Other news outlets, including The Guardian, have also begun reporting the news.
Born in 1940 in Tehran, the filmmaker first studied painting at the University of Tehran; later, he worked as a graphic designer and commercial director. Kiarostami credited a job in the film department at Kanun (the Centre for the Intellectual Development of Children and Young Adults) for shaping him into a filmmaker.
He made his first feature, “The Report,” in 1977, just two years before the 1979 revolution that saw so many of his creative peers leave the country. Kiarostami, however, stayed and...
- 7/4/2016
- by Kate Erbland
- Indiewire
The Doha Film Institute will organise a retrospective devoted to Abbas Kiarostami at the Museum of Islamic Art in Doha.
The programme, which runs Sept 13-21, will include 14 short and feature films. Kiarostami himself is expected to attend and to make appearances at screenings.
Abdulaziz Al Khater, CEO of Doha Film Institute, said: “Dfi is proud to present this rich selection of Abbas Kiarostami’s great works for the first time in the region. We are not only sharing some of the finest world cinema with Qatar’s audiences, but we also hope to inspire local and regional talent to expand boundaries of traditional filmmaking to experiment with various media, styles, and interpretations.”
Ludmila Cvikova, Head of Film Programming at Doha Film Institute, said: “One of the most admired contemporary auteurs of cinema, Abbas Kiarostami is an inspiration for emerging as well as established filmmakers. His approach to filmmaking, which often defies conventional techniques, is much discussed...
The programme, which runs Sept 13-21, will include 14 short and feature films. Kiarostami himself is expected to attend and to make appearances at screenings.
Abdulaziz Al Khater, CEO of Doha Film Institute, said: “Dfi is proud to present this rich selection of Abbas Kiarostami’s great works for the first time in the region. We are not only sharing some of the finest world cinema with Qatar’s audiences, but we also hope to inspire local and regional talent to expand boundaries of traditional filmmaking to experiment with various media, styles, and interpretations.”
Ludmila Cvikova, Head of Film Programming at Doha Film Institute, said: “One of the most admired contemporary auteurs of cinema, Abbas Kiarostami is an inspiration for emerging as well as established filmmakers. His approach to filmmaking, which often defies conventional techniques, is much discussed...
- 8/21/2013
- by wendy.mitchell@screendaily.com (Wendy Mitchell)
- ScreenDaily
Updated through 5/23.
"Bill Hunter, the archetypal working class Australian of a multitude of movies including the quirky trio Muriel's Wedding, The Adventures of Priscilla, Queen of the Desert and Strictly Ballroom has died of cancer," reports the AP. He was 71. "The prolific star of Australian movie and television screens with a distinctively broad and gravelly accent and an authoritative no-nonsense style remained an actor in demand until the end. He recently narrated a two-part television documentary about the floods and cyclone that became Australia's most expensive natural disasters early this year…. Director Baz Luhrmann described Hunter in a statement last week as 'the go-to iconic actor to synthesize quintessential Australian-ness.'"
"Of all his work, Hunter's portrayal of Major Barton in Peter Weir's classic 1981 war epic Gallipoli is widely regarded as his finest," write Jim Schembri and Karl Quinn for the Sydney Morning Herald. "Charged with playing a...
"Bill Hunter, the archetypal working class Australian of a multitude of movies including the quirky trio Muriel's Wedding, The Adventures of Priscilla, Queen of the Desert and Strictly Ballroom has died of cancer," reports the AP. He was 71. "The prolific star of Australian movie and television screens with a distinctively broad and gravelly accent and an authoritative no-nonsense style remained an actor in demand until the end. He recently narrated a two-part television documentary about the floods and cyclone that became Australia's most expensive natural disasters early this year…. Director Baz Luhrmann described Hunter in a statement last week as 'the go-to iconic actor to synthesize quintessential Australian-ness.'"
"Of all his work, Hunter's portrayal of Major Barton in Peter Weir's classic 1981 war epic Gallipoli is widely regarded as his finest," write Jim Schembri and Karl Quinn for the Sydney Morning Herald. "Charged with playing a...
- 5/23/2011
- MUBI
Certified Copy
2010
Abbas Kirostami
English, French, and Italian
Of all the dense, intertwined ironies in William Gaddis’s novel The Recognitions (some of which may not be ironies at all, but actual truth), the slyest but also least reticent comes out in a conversation between a young painter, Wyatt Gwyon, and the sinister art dealer Recktall Brown. “It’s a question of being surrounded by people who don’t have any sense that what they are doing means anything… If everybody else’s life is interchanged and nobody can stop and say, That is mine, this is my work, then how can they see it in mine,” Wyatt asks. The irony is that Wyatt is exclusively a forger, an incredibly talented one, mostly of Flemish masterpieces. His method, handed down to him, is to reject any semblance of originality – “The romantic disease” – and perfect the forms of the masters through repetition.
2010
Abbas Kirostami
English, French, and Italian
Of all the dense, intertwined ironies in William Gaddis’s novel The Recognitions (some of which may not be ironies at all, but actual truth), the slyest but also least reticent comes out in a conversation between a young painter, Wyatt Gwyon, and the sinister art dealer Recktall Brown. “It’s a question of being surrounded by people who don’t have any sense that what they are doing means anything… If everybody else’s life is interchanged and nobody can stop and say, That is mine, this is my work, then how can they see it in mine,” Wyatt asks. The irony is that Wyatt is exclusively a forger, an incredibly talented one, mostly of Flemish masterpieces. His method, handed down to him, is to reject any semblance of originality – “The romantic disease” – and perfect the forms of the masters through repetition.
- 3/23/2011
- by Louis Godfrey
- SoundOnSight
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