Mehrnaz Saeed-Vafa – författare
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2 produkter
2 produkter
E-bok
Engelska, 2018282 kr
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Before his death in 2016, Abbas Kiarostami wrote or directed more than thirty films in a career that mirrored Iranian cinema''s rise as an international force. His 1997 feature Taste of Cherry made him the first Iranian filmmaker to win the Palme d''Or at Cannes. Critics'' polls continue to place Close-Up (1990) and Through the Olive Trees (1994) among the masterpieces of world cinema. Yet Kiarostami''s naturalistic impulses and winding complexity made him one of the most divisive—if influential—filmmakers of his time.
In this expanded second edition, award-winning Iranian filmmaker Mehrnaz Saeed-Vafa and film critic Jonathan Rosenbaum renew their illuminating cross-cultural dialogue on Kiarostami''s work. The pair chart the filmmaker''s late-in-life turn toward art galleries, museums, still photography, and installations. They also bring their distinct but complementary perspectives to a new conversation on the experimental film Shirin. Finally, Rosenbaum offers an essay on watching Kiarostami at home while Saeed-Vafa conducts a deeply personal interview with the director on his career and his final feature, Like Someone in Love.
Häftad, Engelska, 2018
231 kr
Skickas
Before his death in 2016, Abbas Kiarostami wrote or directed more than thirty films in a career that mirrored Iranian cinema's rise as an international force. His 1997 feature Taste of Cherry made him the first Iranian filmmaker to win the Palme d'Or at Cannes. Critics' polls continue to place Close-Up (1990) and Through the Olive Trees (1994) among the masterpieces of world cinema. Yet Kiarostami's naturalistic impulses and winding complexity made him one of the most divisive-if influential-filmmakers of his time. In this expanded second edition, award-winning Iranian filmmaker Mehrnaz Saeed-Vafa and film critic Jonathan Rosenbaum renew their illuminating cross-cultural dialogue on Kiarostami's work. The pair chart the filmmaker's late-in-life turn toward art galleries, museums, still photography, and installations. They also bring their distinct but complementary perspectives to a new conversation on the experimental film Shirin. Finally, Rosenbaum offers an essay on watching Kiarostami at home while Saeed-Vafa conducts a deeply personal interview with the director on his career and his final feature, Like Someone in Love.