Through the Olive Trees
Abbas Kiarostami, Iran, 1994, 103 min
Kiarostami takes meta-narrative gamesmanship to masterful new heights in the final installment of his celebrated Koker trilogy. Unfolding “behind the scenes” of the shooting of the previous film in the series, And Life Goes On…, Through the Olive Trees traces the complications that arise when the romantic misfortune of one of the actors—a lovelorn young man who pines for the woman cast as his wife even though, in real life, she will have nothing to do with him—creates turmoil on set and leaves the hapless director caught in the middle. An ineffably lovely, gentle human comedy steeped in the folkways of Iranian village life, this Pirandellian pastoral peels away layer after layer of artifice as it investigates the elusive, alchemical relationship between cinema and reality.
Abbas Kiarostami, Iran, 1994, 103 min
Kiarostami takes meta-narrative gamesmanship to masterful new heights in the final installment of his celebrated Koker trilogy. Unfolding “behind the scenes” of the shooting of the previous film in the series, And Life Goes On…, Through the Olive Trees traces the complications that arise when the romantic misfortune of one of the actors—a lovelorn young man who pines for the woman cast as his wife even though, in real life, she will have nothing to do with him—creates turmoil on set and leaves the hapless director caught in the middle. An ineffably lovely, gentle human comedy steeped in the folkways of Iranian village life, this Pirandellian pastoral peels away layer after layer of artifice as it investigates the elusive, alchemical relationship between cinema and reality.
Abbas Kiarostami, Iran, 1994, 103 min
Kiarostami takes meta-narrative gamesmanship to masterful new heights in the final installment of his celebrated Koker trilogy. Unfolding “behind the scenes” of the shooting of the previous film in the series, And Life Goes On…, Through the Olive Trees traces the complications that arise when the romantic misfortune of one of the actors—a lovelorn young man who pines for the woman cast as his wife even though, in real life, she will have nothing to do with him—creates turmoil on set and leaves the hapless director caught in the middle. An ineffably lovely, gentle human comedy steeped in the folkways of Iranian village life, this Pirandellian pastoral peels away layer after layer of artifice as it investigates the elusive, alchemical relationship between cinema and reality.