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But the ultimate source of bamboozlement here, clearly, is cinema itself. Its power to bewitch is evident every time Kiarostami turns on his camera.

That power, no doubt, was especially pronounced at that particular moment in the Islamic republic, when many of the great dreams inspired by the revolution had dwindled, and when other public art forms had been suppressed while cinema was revived and privileged, with some directors emerging as cultural luminaries.

First, Kiarostami convinces the amiable mullah judge to schedule the hearing according to his filmmaking timetable, and to stage it as, in effect, a full-blown movie trial.

Next, he gets permission to take part in the proceedings, positioning himself beside Sabzian we never see Kiarostami but frequently hear his voice and joining the judge in putting questions to the defendant.

And if this arrangement were not odd enough, Kiarostami brings two cameras into the courtroom and tells Sabzian that the one with the wide-angle lens will film the legal proceedings, while the close-up camera will remain on him, recording his performance.

The circumstances here, then, could not be more artificial. Yet due in part to that, it offers a perfect frame for what Kiarostami has said compelled him to make the film: the personality of Sabzian.

But because I pretended to be this famous person, they would do whatever I said. Though his deception had ended up imprisoning Sabzian both literally and figuratively, cinema and its heroes still offered him a regular means of escape.

Then a good man comes along who portrays all my suffering in his films, and I can go see them over and over again. They show the evil faces of those who trade on others, the rich who pay no attention to the simple material needs of the poor.

The judge, a calm and generous presence throughout, asks the Ahankhahs to forgive their transgressor, and they grudgingly agree.

Soon after, Sabzian emerges from prison and is met by Makhmalbaf. Each viewer will have to decide whether this ending is compromised by its wholesale contrivance.

In reality, Kiarostami coaxed the judge into his verdict. The Ahankhahs were outraged; they wanted Sabzian to be convicted. Even Sabzian went to the judge later and complained, saying he felt sure Kiarostami had somehow tricked him!

As for the moving departure from prison, it was staged, and Kiarostami shot from a distance purely for dramatic or docudramatic effect.

Kiarostami himself continues to work, although his latest project, Certified Copy, was his first feature made outside of Iran, in Italy.

Time was not kind to Sabzian, who died after a heart attack in , age fifty-two. With his deeply political but unclassifiable debut feature, Med Hondo set out to establish a transformational presence for global African cinema and to accelerate the emergence of a new Africa.

By Aboubakar Sanogo. By Hamid Naficy. Made at a time when the Mexican film industry was searching for its own identity, this boldly stylized melodrama anticipated an experimental cinema that was never given adequate room to develop.

By Elisa Lozano. By Stephanie Dennison. Related Films. Close-up Abbas Kiarostami. Oct 5, The Current. View Cart Check Out. Close Menu Search Criterion.

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At the end of the s, Kiarostami was voted the most important director of the decade by U. The film was startling to Western viewers in the early s on several fronts.

To begin with, its formal sophistication and philosophical complexity were unexpected, coming from an authoritarian theocracy, and indeed seemed even more inventive than what was issuing from Europe and the United States at the time.

The film also offered a picture of the Islamic republic far more shaded and intriguing than the clenched fists and burning effigies featured on Western TV news—this was an Iran where comfortable householders and a poor man shared a devout love of cinema, and where a turbaned Islamic judge could use that love to effect a compassionate reconciliation between bitterly opposed legal antagonists.

And Close-up announced a filmmaker with a witty, ingenious, and unusually challenging formal approach. From the outset, the film baffles expectations as it slyly subverts standard film language.

The opening scene shows Farazmand and two soldiers getting into a taxi. During their subsequent trip to the Ahankhah house, the reporter describes to the driver the strange case of the Makhmalbaf impersonator and his excitement at covering it.

As happens in many Kiarostami films that involve car rides, the taxi driver repeatedly stops to ask directions, evoking a sense of disorientation that mirrors our own.

Then, when the destination is reached, something decidedly odd happens—not only in what the film shows but also in the way it shows it.

Here, a standard journalistic narrative is displaced by techniques that might best be called poetic.

The rolling aerosol can which is set back in motion by Farazmand, stranded after the taxi leaves , meanwhile, gives us a multivalent symbol as opaque as it is whimsical.

At every turn, Kiarostami engages us with questions concerning not only the events we witness but also the film containing them. Those latter, metafilmic questions are particularly important because Close-up is endlessly deceptive.

Contrary to what most first-time viewers assume, none of its scenes are strictly documentary. Not just the reenactments but all the other scenes, too, are at least partly scripted or otherwise contrived by Kiarostami.

In effect, the film is not one in which documentary is blended with fiction but one in which an intricate fiction is composed of real-life materials.

When Close-up was made, Kiarostami was forty-nine. As a filmmaker in the s, he started out as a radical Islamist and publicly denounced prerevolutionary directors like Kiarostami.

For his part, Kiarostami recalled that the magazine was already in the office and that he started talking about his idea for making a film about the case only because Makhmalbaf made him nervous.

In any event, the two men then borrowed a car and visited the Ahankhahs. The directors and the family stayed up late drinking tea and talking.

Bamboozlement, to be sure, is crucial to Close-up in various senses. The story, after all, began with Sabzian bamboozling Mrs.

Ahankhah on a bus, when he told her that he was the author of the screenplay he was reading, The Cyclist; it continued while he posed as Makhmalbaf with her family.

Then Farazmand bamboozled his way into an outlandish criminal case and ended up with a front-page scoop. Kiarostami subsequently bamboozled all of the participants into performing in his film.

But the ultimate source of bamboozlement here, clearly, is cinema itself. Its power to bewitch is evident every time Kiarostami turns on his camera.

That power, no doubt, was especially pronounced at that particular moment in the Islamic republic, when many of the great dreams inspired by the revolution had dwindled, and when other public art forms had been suppressed while cinema was revived and privileged, with some directors emerging as cultural luminaries.

First, Kiarostami convinces the amiable mullah judge to schedule the hearing according to his filmmaking timetable, and to stage it as, in effect, a full-blown movie trial.

Next, he gets permission to take part in the proceedings, positioning himself beside Sabzian we never see Kiarostami but frequently hear his voice and joining the judge in putting questions to the defendant.

And if this arrangement were not odd enough, Kiarostami brings two cameras into the courtroom and tells Sabzian that the one with the wide-angle lens will film the legal proceedings, while the close-up camera will remain on him, recording his performance.

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