© 2017 by James Clark
We live in one of those eras where whole nations (or nation-links) have been widely regarded as irredeemably perverse and evil. Over the years, Catholics, Jews, Communists, gays, Japanese, Germans, etc. have been subjected to fierce and massive opposition. Therefore, when approaching a film notable like, Abbas Kiarostami (1940-2016), a rare artist refusing to cut ties with (though not a supporter of) militant Islam (within Iran), there is a special preparatory requirement to make very clear that our stalwart is, first and foremost, a citizen of the contemporary world, which is to say, the secular, cosmopolitan world.
In view of this, we’ll put forward a glimpse of the heart of Kiarostami’s work, a glimpse which Michelangelo Antonioni would be touched by, not to mention many other modern filmmakers.
Only an artist alerted to an imperative of dynamics brooking no capitulation to ancient enthusiasms would find necessary that those enveloping thrusts comprising Roads of Kiarostami take the spotlight. Kiarostami’s eventual semi-exile (the regime being happy about his festival winnings, but increasingly suspicious about the content of the material and therefore suspending any further financing), whereby his final two films—Certified Copy (2010) and Like Someone in Love (2012) were produced in, severally, Italy and Japan—comprised a distress that the oddity (uncanniness) he had romanced from the days when Persian Iran was Muslim-Lite had been targeted by a stream of volcanic, though tempered, spleen. But in our film today, Close-Up (1990), that ingredient of nausea is abated. Our special investigation of this surreal saga, then, has to do with those winning roadways and their comedic (Jarmuschian) whimsy remaining a viable navigation even where Paterson-like thought-police pose challenging roadblocks. (more…)