Quote:
The Traveler is a 1974 Iranian drama film directed by Abbas Kiarostami that tells the story of Hassan Darabi, a troublesome, amoral 10-year-old boy in a small Iranian town. He wishes to see the Iran national football team play an important match in Tehran. In order to achieve that, he scams his friends and neighbors. After a number of adventures, he finally reaches Tehran stadium at the time of the match. The film addresses the boy’s determination in his goal and his indifference to the effects of his actions on other people, particularly those who are closest to him. In its element, the film is an examination of human behavior and the balance of right and wrong.

The.Traveler.1974.720p.BDRip.x264-iRAN.mkv

General
Container:  	Matroska
Runtime: 	1 h 13 min
Size: 	3.37 GiB
Video
Codec: 	x264
Resolution: 	986x720 
Aspect ratio:  	4:3
Frame rate: 	23.976 fps
Bit rate: 	6 177 kb/s
BPP: 	0.363
Audio
#1:  	Persian 2.0ch AC-3 @ 224 kb/s (Stereo)

https://nitro.download/view/53C131C13BD35BD/The.Traveler.1974.720p.BDRip.x264-iRAN.mkv

Language(s):Persian
Subtitles:English, Japanese

The post Abbas Kiarostami – Mossafer AKA The Traveler (1974) (HD) first appeared on Cinema of the World.

Quote:
Abbas Kiarostami’s Certified Copy doesn’t defy you to understand it, and yet it feels almost inappropriate, tasteless even, to do so—as if you were eavesdropping on a private conversation. This resplendently heady yet nimble essay film is effervescently structured around a man and woman’s thoughts about art, life, landscape, and love. The man, James Miller (William Shimell), is an author, in Tuscany to tout his new book, Certified Copy; his female companion and guide, “She” (Juliette Bionche), a fan, maybe even his wife, sells art both real and forged from an underground storefront that suggests a portal into Italy’s ancient past. Their flair for self-reflection matches the film’s own: From coyness to resentment, the voluptuously see-sawing tenor of their conversations becomes a commentary on the entwined relationship between art and life—how a painting or movie, like a kiss or a touch, can either woo us or repulse us depending on the perspective.

When James and She ride around town, their faces stunningly fused with the buildings reflected in their car window, they speak of art and forgery and ways of seeing. How James is jealous of one of She’s “simple” friends, the way she emotionally responds to art and doesn’t try to convince anyone of her opinion, the film recalls Pauline Kael’s sympathetic—though often contradicted—respect for how the hardworking masses go to the movies in order to escape the harshness of their everyday lives. Certified Copy, at least here, becomes a statement on critical discourse: how critics argue with other critics, sometimes even with themselves in their pieces, and possibly at the expense of their own sense of fun—which is to say nothing of the fun they sometimes begrudge others for having.

Certified Copy is enough to guilt any critic, even ones who aren’t starved for pleasure or thrive on reprogramming their readers, but that would suggest that Kiarostami, one of our great humanist filmmakers, is a man of judgment—or that he’s talking only to the people who critique his work. This is a film whose slyness derives from its flabbergasting sense of framing, overlapping visual textures, and ever-peeling layers of thought, so that from moment to moment—no, shot to shot—there’s this dizzying sense that the characters are at once talking to themselves, their maker, and the audience that beholds them. And as in a scene where She, sitting inside a restaurant, looks out toward the street at a couple celebrating their nuptials, or perhaps at her reflection in the mirror, or perhaps us in the audience, one gets the sense of Kiarostami’s own image as a sort of mirror, one that reflects, exposes even, our deepest anxieties and wants.

Kiarostami tempts one to invoke the kindred-spirited themes of Voyage to Italy, L’Avventura, even Before Sunset as we chew on his Certified Copy, but to do so would suggest that Kiarostami thinks of them as ideals. Those films are reference points, sure, but nothing more. Certified Copy is very much its own entity, as it understands idealism, at least the intellectual form of it, as the denial of individuality. That point is itself an intellectual one, but it’s one that’s understood quite spontaneously and emotionally in the film’s greatest scene when She, tired from bickering, enters a church, James behind her, and emerges from within in awe of the old couple that hobbles slowly across the way toward the steps that lead to what may or may not be their home.

Even beyond this seemingly holy moment, it’s never fully known whether James and She are strangers to each other or if they’re a wretchedly estranged married couple, play-acting the role of husband and wife after a visit to a coffee shop as a means of indirectly challenging each other’s views of art and representation, but it’s exactly by this point that one realizes that it doesn’t matter what they are to each other. How She looks at the old couple is, for me, Binoche’s finest triumph to date—a great actor’s profoundly emotional and philosophical consideration of how we struggle with the idea of our mortality and loneliness. She would, no doubt, love for herself and James, whoever he is, to create a copy of what the older couple seems to share, but if he were to stay, like she begs him to, would it be a lie?

Certified Copy appeals to me as a lover of Buñuel—even before Jean-Claude Carrière, Buñuel’s greatest collaborator, pops up in a illusory scene wherein it looks as if he is verbally abusing his female companion (Agathe Nathanson), I was already smitten by its surreal consideration of identity and romance—and as a lover, period. I can’t say that I understand everything Kiarostami has to tell me about life, art, romance, and tradition, from Michelangelo’s “David” to the silly ritual of tasting the wine from a freshly corked bottle in restaurants, at least not consciously, but I know I feel haunted, elated, enriched by his wily and impassioned view of relationships as bodies in constant flux, of disagreement and individuality, and of the transformative power of a simple, sincerely felt timeout in a moment of bitter crisis, such as a tender hand on a shoulder, to remind a lover, however scorned, that they are still loved. From its gorgeously prismatic visual style, Kiarostami’s latest is very much a work of art, but its enlightening emotional feeling proves that it’s also a certified copy of real life.

Abbas Kiarostami - (2010) Certified Copy.mkv

General
Container:  	Matroska
Runtime: 	1h 46mn
Size: 	2.25 GiB
Video
Codec: 	x264
Resolution: 	1024x560 
Aspect ratio:  	1.85:1
Frame rate: 	23.976 fps
Bit rate: 	2 746 Kbps
BPP: 	0.200
Audio
#1:  	5.1ch AC-3 @ 256 Kbps

https://nitro.download/view/9547BD22DDB16FE/Abbas_Kiarostami_-_(2010)_Certified_Copy.mkv

Language(s):French, English, Italian
Subtitles:English

The post Abbas Kiarostami – Copie conforme AKA Certified Copy (2010) first appeared on Cinema of the World.

SYNOPSIS:
Though much of this film is a straightforward lecture on dental hygiene delivered by a dentist facing the camera, it still manages to be persuasively Kiarostami-esque in its description of young Mohammad-Reza’s life at home and at school before he falls prey to tooth woes (interestingly, Kiarostami found the boy who was having a tooth removed, then filmed the earlier parts of the story later). That some audiences find the film amusing testifies to the humor that can accompany great discomfort.

696MB | 26m 36s | 790×576 | mkv

https://nitro.download/view/BEAAD12BB9523CA/Toothache.1980.Abbas.Kiarostami.576p.BDRip.x264.mkv

Language(s):Persian
Subtitles:English,French

The post Abbas Kiarostami – Dandan Dard AKA Toothache (1980) first appeared on Cinema of the World.

SYNOPSIS:
An assignment from the Ministry of Education, this documentary from the last years of the Pahlavi dynasty includes interviews with government officials who predictably praise teaching as a sacred, noble, and honorable profession. The teachers who are also interviewed are less starry-eyed: one speaks of ungrateful students and the job’s poor pay. The contrasting views reflect Kiarostami’s interest in education while registering some of his reservations about how it is practiced.

411MB | 16m 56s | 790×576 | mkv

https://nitro.download/view/E6BCDEA76E52FDF/Tribute.to.the.Teachers.1977.Abbas.Kiarostami.576p.BDRip.x264.mkv

Language(s):Persian
Subtitles:English,French

The post Abbas Kiarostami – Bozorgdasht-e mo’Allem AKA Tribute to the Teachers (1977) first appeared on Cinema of the World.

Quote:
Kiarostami’s fascination with both Tehrani car culture and the uses of power in post-revolutionary society come together in this documentary about a traffic officer assigned to enforce driving restrictions in central Tehran (a locale near the director’s Kanoon office). The officer, a rock star in his own world, remains coolly authoritative as he faces a steady stream of exasperated motorists.

1.38GB | 50m 57s | 790×576 | mkv

https://nitro.download/view/883FB3E64672F9B/Fellow.Citizen.1983.Abbas.Kiarostami.576p.BDRip.x264.mkv

Language(s):Persian
Subtitles:English,French

The post Abbas Kiarostami – Hamshahri AKA Fellow Citizen (1983) first appeared on Cinema of the World.

Quote:
The rare Kanoon film that doesn’t involve children, this unusual road movie was made during the Revolution and afforded Kiarostami what may have been a welcome escape from the capital. Shot amid spectacular mountain scenery north of Tehran, it revolves around a young man on the roadside carrying a tire, trying to get a ride. After several minutes of failure, he simply takes the tire and rolls it down the mountain. This lyrical visual journey is accompanied by a triumphal score.

303MB | 11m 33s | 790×576 | mkv

https://nitro.download/view/3BE0F9D50839C93/Solution.Number.1.1978.Abbas.Kiarostami.576p.BDRip.x264.mkv

Language:none
Subtitles:none

The post Abbas Kiarostami – Rah Hal-e Yek AKA Solution No. 1 (1978) first appeared on Cinema of the World.

The first of Kiarostami’s films made for, rather than about, children was an experiment in combining live action and animation, done in collaboration with animator Nafiseh Riahi. As two schoolboys watch the movements of animated animals, on the TV (such as kangaroos jumping, fish swimming, etc.), one boy, played by Riahi’s son Kamal, says, “I can, too,” and imitates the actions. The music is sprightly, the mood fun. Interestingly, the second boy is played by Kiarostami’s son, Ahmad.

83MB | 04m 29s | 790×576 | mkv

https://nitro.download/view/888415D0DA97D0D/So.Can.I.1975.Abbas.Kiarostami.576p.BDRip.x264.mkv

Language:Persian
Subtitles:English,French

The post Abbas Kiarostami – Man ham mitounam AKA So Can I (1975) first appeared on Cinema of the World.