Film, the Living Record of Our Memory director Inés Toharia with Anne-Katrin Titze on Martin Scorsese and Thelma Schoonmaker: “We were hoping to catch up with them both, because they work together so closely and they are so crucial for Michael Powell’s work.”
Film, The Living Record Of Our Memory (a highlight of the 12th edition of Doc NYC) features insightful commentary from filmmakers Ken Loach, Jonas Mekas (Todd Haynes dedicated The Velvet Underground to Jonas), Kevin Brownlow, Fernando Trueba, Costa-Gavras, Patricio Guzmán, Ahmad Kiarostami (producer for Abbas Kiarostami), Idrissa Ouédraogo, Martin Scorsese, Bill Morrison, Ridley Scott, Nicolas Rey, Wim Wenders (on music rights and restoration), and cinematographer Vittorio Storaro.
Inés Toharia on Martin Scorsese speaking on film preservation at the Cineteca di Bologna: “I think Langlois and him are the two people - they’re very different, but they opened everyone to understand why.”
In the first instalment with Inés Toharia,...
Film, The Living Record Of Our Memory (a highlight of the 12th edition of Doc NYC) features insightful commentary from filmmakers Ken Loach, Jonas Mekas (Todd Haynes dedicated The Velvet Underground to Jonas), Kevin Brownlow, Fernando Trueba, Costa-Gavras, Patricio Guzmán, Ahmad Kiarostami (producer for Abbas Kiarostami), Idrissa Ouédraogo, Martin Scorsese, Bill Morrison, Ridley Scott, Nicolas Rey, Wim Wenders (on music rights and restoration), and cinematographer Vittorio Storaro.
Inés Toharia on Martin Scorsese speaking on film preservation at the Cineteca di Bologna: “I think Langlois and him are the two people - they’re very different, but they opened everyone to understand why.”
In the first instalment with Inés Toharia,...
- 11/25/2021
- by Anne-Katrin Titze
- eyeforfilm.co.uk
At a moment in time when documentaries are in greater favor, and more widely accessible to the public than ever before, it’s both disturbing and ironic that the most enthralling and revelatory documentary I’ve seen over the past year hasn’t yet found a clear path to the public.
But that is the case with Coup 53, Taghi Amirani’s deep dish, sometimes breathtaking examination of the U.S.-British-instigated coup that brought down the democratically elected president of Iran, Mohammad Mosaddegh, in the summer of 1953, as the young shah waited in the wings. It’s a complex story involving considerable history (there’s amazing early film footage of the world-changing discovery of oil in the country) and a multitude of political shenanigans on all sides. It also proved to be globally consequential when the shah was ultimately overthrown, in 1979, by Islamic forces led by the Ayatollah Khomeini.
The...
But that is the case with Coup 53, Taghi Amirani’s deep dish, sometimes breathtaking examination of the U.S.-British-instigated coup that brought down the democratically elected president of Iran, Mohammad Mosaddegh, in the summer of 1953, as the young shah waited in the wings. It’s a complex story involving considerable history (there’s amazing early film footage of the world-changing discovery of oil in the country) and a multitude of political shenanigans on all sides. It also proved to be globally consequential when the shah was ultimately overthrown, in 1979, by Islamic forces led by the Ayatollah Khomeini.
The...
- 7/31/2020
- by Todd McCarthy
- Deadline Film + TV
Three years after Palme d’Or-winning Iranian filmmaker Abbas Kiarostami passed away at the age of 76, Janus Films is rolling out a wide-ranging and lovingly designed touring retrospective of some of his seminal works. The new retrospective includes restorations of The Koker Trilogy, plus features like “Close-Up,” “Taste of Cherry,” “Shirin,” “24 Frames,” “ABC Africa,” “The Wind Will Carry Us,” “Ten,” and “Five.”
The new restorations were undertaken by the Criterion Collection and mk2 with contributions by Kiarostami’s son, Ahmad Kiarostami.
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...
The new restorations were undertaken by the Criterion Collection and mk2 with contributions by Kiarostami’s son, Ahmad Kiarostami.
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...
- 7/24/2019
- by Kate Erbland
- Indiewire
Featuring: Birds, cows, trees, cats, more cows | Written and Directed by Abbas Kiarostami
Completed posthumously in 2017 for its Iranian director Abbas Kiarostami, who gets an ambiguous credit at the end, 24 Frames is the kind of movie that the oft-mocked phrase “mise en scene” was made for. Except, as far as “movies” go, this one doesn’t move much.
It’s structured as a series of tableaux, and, bar one early view from a moving car, the camera remains rigid throughout. Most of the scenes are of nature – a mountain, a copse of trees, the Serengeti – but some depict urban environments, often through a window. In virtually every one of the 4.5-minute frames – of which there are 24, of course – there is some form of fauna. Kiarostami had a predilection for birds, it seems. But there are also cows, cats (small and big), and sometimes even humans.
If anything, the real star...
Completed posthumously in 2017 for its Iranian director Abbas Kiarostami, who gets an ambiguous credit at the end, 24 Frames is the kind of movie that the oft-mocked phrase “mise en scene” was made for. Except, as far as “movies” go, this one doesn’t move much.
It’s structured as a series of tableaux, and, bar one early view from a moving car, the camera remains rigid throughout. Most of the scenes are of nature – a mountain, a copse of trees, the Serengeti – but some depict urban environments, often through a window. In virtually every one of the 4.5-minute frames – of which there are 24, of course – there is some form of fauna. Kiarostami had a predilection for birds, it seems. But there are also cows, cats (small and big), and sometimes even humans.
If anything, the real star...
- 2/5/2019
- by Rupert Harvey
- Nerdly
Helping create the new Iranian Film Festival New York, which has its inaugural edition January 10 – 15 at the IFC Center, was the realization of a long-held dream. My initial encounter with Iranian cinema came at the first festival of post-Revolutionary Iranian films held in New York, at the Walter Reade Theater in the fall of 1992. Discovering the work of directors such as Abbas Kiarostami, Dariush Mehrjui, Bahram Beyzai, and many others was literally a life-changing experience for me; I began writing about Iranian cinema at every opportunity and made a number of trips to Iran to study the subject up close.
In 2017, my friend Ahmad Kiarostami invited me to go to Tehran and speak at a memorial for his father, Abbas, who died the previous year. The event was held in conjunction with Iran’s annual Fajr International Film Festival. While there, I met Armin Miladi, who distributes Iranian films in the U.
In 2017, my friend Ahmad Kiarostami invited me to go to Tehran and speak at a memorial for his father, Abbas, who died the previous year. The event was held in conjunction with Iran’s annual Fajr International Film Festival. While there, I met Armin Miladi, who distributes Iranian films in the U.
- 1/10/2019
- by Godfrey Cheshire
- Indiewire
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