Movingly presented in a special screening at the largest cinema in Cannes, Abbas Kiarostami’s final feature 24 Frames may be the most experimental film ever shown at the festival. Inspired by his desire to know what happens before and after what's depicted in an image, Kiarostami and a team of supremely talented animators and sound artists have rendered in motion 23 of the Iranian director’s photographs and one Bruegel painting, each brought to life for four and a half minutes.Throughout his career, Kiarostami, who died at the age of 76 last July, asked playful questions about where the line between cinema and life, construction and reality lay, and in later films like Ten (2002), Five Dedicated to Ozu (2003), Shirin (2008), and Like Someone in Love (2012), he has more directly confronted the audience with these innate ambiguities. The constant return suggests the permeable line—the levels of play and fictionalizing—of what cinema...
- 5/26/2017
- MUBI
The wait for a new Abbas Kiarostami film will soon come to an end, and it won’t conclude with anything we’d expected. Outlets aren’t exactly tracing his every step, sure, but there have been reports in the past year or so that he’d soon produce a feature in China — first something about a maid, then something concerning monks. While one or the other or both may very come to fruition before long, recent material presented at this year’s Marrakech International Film Festival sounds entirely different.
And exciting, of course. The new film is titled 24 Frames Before and After Lumiere and said to be “a compilation project based on 24 four-and-a-half minute films that he has been directing over the last three years and aims to release in mid-2016.” Initial descriptions hew closer to the experimental features of his 2000s output (e.g. Five Dedicated to Ozu...
And exciting, of course. The new film is titled 24 Frames Before and After Lumiere and said to be “a compilation project based on 24 four-and-a-half minute films that he has been directing over the last three years and aims to release in mid-2016.” Initial descriptions hew closer to the experimental features of his 2000s output (e.g. Five Dedicated to Ozu...
- 12/10/2015
- by Nick Newman
- The Film Stage
The Moon, the opposite of the sun, hovers over us by night, the opposite of day.
In F.W. Murnau’s Tabu (1931), Reri, the sacred maiden of the small island of Bora Bora, writes this to her lover Matahi:
And indeed, when Matahi chases after her, the moon spreads its path on the sea.
He runs and swims after her, moving faster than a normal human being, defying the laws of gravity.
Miraculously, he catches up to the boat.
Thus, he must die, sinking back into a void…
…while ghost ships linger on in the distance…
…carrying another hopeless romantic, and a moving corpse—A second Nosferatu.
The moon is absent in Murnau’s earlier film, made nearly ten years before Tabu, but it is in the one he made nearly five years after Nosferatu, when George O’Brien leaves his wife for a midnight rendezvous with another woman.
And indeed,...
In F.W. Murnau’s Tabu (1931), Reri, the sacred maiden of the small island of Bora Bora, writes this to her lover Matahi:
And indeed, when Matahi chases after her, the moon spreads its path on the sea.
He runs and swims after her, moving faster than a normal human being, defying the laws of gravity.
Miraculously, he catches up to the boat.
Thus, he must die, sinking back into a void…
…while ghost ships linger on in the distance…
…carrying another hopeless romantic, and a moving corpse—A second Nosferatu.
The moon is absent in Murnau’s earlier film, made nearly ten years before Tabu, but it is in the one he made nearly five years after Nosferatu, when George O’Brien leaves his wife for a midnight rendezvous with another woman.
And indeed,...
- 3/17/2014
- by Neil Bahadur
- MUBI
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