AN ABBAS KIAROSTAMI RETROSPECTIVE IS COMING
Last year around the anniversary of director Abbas Kiarostami's passing, the Nightlight Film Society screened his final film 24 Frames (2018) This July we are bringing his best film CLOSE-UP (1990) in a new 4k restoration to Akron.
Beginning August 2 at IFC Center in New York, Janus Films will be presenting a touring Abbas Kiarostami retrospective spanning the great Iranian master’s career, including the Koker Trilogy, Taste of Cherry, rare shorts, documentaries, new restorations undertaken by the Criterion Collection and mk2 with the invaluable contribution of Ahmad Kiarostami, and more!
We will be screening one of these rare shorts in front of CLOSE-UP (1990)
Internationally revered Iranian filmmaker Abbas Kiarostami has created some of the most inventive and transcendent cinema of the last thirty years, and Close-Up is his most radical, brilliant work. This fiction-documentary hybrid uses a real life sensational event—a young man arrested on charges that he fraudulently impersonated well-known filmmaker Mohsen Makhmalbaf—as the basis for a stunning, multi-layered investigation into movies, identity, artistic creation, and life itself. With its universal themes and fascinating narrative knots, Close-Up continues to resonate with viewers around the world.
CLOSE-UP (1990) IN A NEW 4K RESTORATION
ONE NIGHT ONLY
JULY 21st at 6:30PM
"Cinema, even within its immaculate bursts of truth, is a realm of masks and modest deceit. The mystical aura of the screen is the equivalent of a magician's assistant, cluttering and distracting the audience from the formation of the tapestry of the entire experience. Close-up, directed by Abbas Kiarostami, is a stirring deconstruction of cinema and its various influences on society and its audience. With natural and affecting "performances", a faultless sense of editing, and a monstrously quintessential view on the power of moving images; Close-up is simply one of the greatest films ever made (maybe even THE greatest) and one of most extraordinary viewing experiences that I've ever had.
For a film to weave fact and fiction so thoroughly isn't just a massive accomplishment in and of itself. It is also a wake-up-call to every avid watcher of film and their private link between the screen and the world they reside in. That space, where the dust floats in the flickering light of the theatre projector, is a formidable specter inside all of us. Our dreams, fears, anxieties, and joys all bask in the light and flourish within this hazy gathering of glorious enchantment.
Close-up takes this feeling, this immeasurable and almost spiritual presence, and decodes its inner workings and mechanisms. Imitation of cinema is taken to the next level. Enhanced, heightened, and enlarged; the frame is viewed as both a wistful means for empathy and a necessary character, simultaneously involving and addressing the audience. It's as if you were driving a car and instead of choosing a path in the fork in the road, you were able to transverse through both realities, watching your other self as they carry on. Feeling your existence. Watching. Observing. Waiting for the roads to intersect again.
I remember sitting in an empty theatre one day, and although I've been alone in theatre auditoriums on multiple occasions, the aching realization that I was observing a ghostly experience continued to send shivers down my spine. Since the dawn of the cinema, we've seen people who we care about, romances which we are involved in, shootouts in which danger is felt, and moments of extraordinary pain and beauty. It is in the cinema where the world comes alive, indelibly projecting our inner feelings into a piece of art, and from there, the memory remains. Those characters float within the confines of our hearts, and although the magic act may end, we stumble out into the night anew.
This film is a part of me." - SilentDawn, Letterboxd
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