Abbas Kiarostami - the Wedding Suit

The Wedding Suits,、素晴らしい。名作とは言えないが、子供と言うか学校に行けず働く青年達の話。中が筒抜けの商店街のミゾンセンが最高。品やかなギーク、嘘つきの空手少年、テイラーで働く少年達のインティメートな社会。空手クラスでイラン人がイチ、ニー、サンと日本語で掛け声が笑える。働く少年達は売られる前に一夜だけ勝手に持ち出しデートに着る新しいスーツ。汚さないように見つからない様にこっそりと、話作りがもうキアロスタミ節。小さな出来事からリアリティーとスリルを。少年達が素人と思えい、愛らしく現実味。うまく切り抜け人生は続く。マンダム

A SUIT FOR WEDDING

LEBASSI BARAYE AROSSI

Iran

1976

54 Min

Color

Persian

A Suit for Wedding (Persian: لباسی برای عروسی, Lebāsī Barā-ye Arūsī) follows three Iranian teens, one of whom works in a tailor’s shop. A new suit is being made for a fourth, upper-class teen and his two friends both want to borrow it. Inevitable complications arise. For 52 minutes, Kiarostami follows his subjects through work and play, constantly shooting their mouths off and trying to avoid getting in trouble with their guardians. This is a fascinating look at life before the revolution with a generous dose of humor. —Judy Bloch

キアロスタミ Solution No.1

キアロスタミの「Solution No. 1」絶景の雪山の崖道でのタイアを転がす立派なパンタロンを履いた青年の姿はフランシスアリスのreel unreelを彷彿させる。と言うかアリスが多分コピーしただろう。しかし結末が驚きのトンチでユーモアたっぷり。クレバーとは括れずがアリスのクレバーさと違い愛がある。そこら辺が映画であり現代美術の文脈での映画と違うと感じた。愛があり、ひらめきが。ひらめきが愛を語るのではなく。

今日のキアロスタミレトロスペクティブの開始第一本だった。1978年の作品。

SOLUTION

RAH HAL-E YEK

Iran

1978

12 Min

Color

Persian

All that happens in the 11 minutes of this film is that a man, unable to hitch a ride back to his broken-down car with a new tire, pushes it back to his car while running. However, style quickly supercedes content; the man runs to stirring, mock-Western music alongside stunning scenery, giving Kiarostami the chance to show off various shots that must have been hell to pull off. Good fun. —onlinefilmhome.dk

キアロスタミ Homework

キアロスタミ、今日の目玉は1989年作のHomework。愛らしい子供の宿題についての質問が体罰、親の世代の文盲率の問題、社会のノイローゼが教育者を通じ子供を縛るなどという問題へと発展する。キアロスタミ本人が出演そして優しく質問で解き明かす。子供映画で、子供達の声でダークでディープな内容へと。

HOMEWORK

MASHGH-E SHAB

Iran

1989

86 Min

Color

1.37:1

Persian

キアロスタミ「オリーブの林をぬけて」

大画面だと良かったなー。しつこいのもキアロスタミ節としよう。映画を撮る中でラブアンドヘイトの男性女性が地震の最悪の惨状後に結婚をする役なのだが現実が演技と撮影を迷宮入りに。ラストシーンは勿論ロングショット、二人の結末は何処に？音楽が奏でる。

"Porfirio" by Alejandro Landes

This Minimalist style didn't work. Nothing-happens-till-the-end aesthetic hardly talked about the context of Porfirio's amazing injustice for it could have made the film richer and deeper in a profound way. Latin films often employ minimalism as if it's a ticket to Canne. I just didn't think Minimalism was appropriate for this film. I was at Q&A, the director was very self-conscious, well-spoken, English without accent, as if he was a westerner with a Latin appearance (Brazilian) as his film was also European inside and outside Columbian. He talked about a scene, where Porfirio goes down the hill on his wheel chair and come close to the camera glaring and turns his cowboy hat and Landes talked about this in reference to American Cowboy films. But that was what he thought but I don't think this scene worked effectively, as it was just a gesture that left the audience no clue....

At Q&A, people were so confused for they didn't know the whole Porfirio Ramírez Aldana incident including myself (just a little reading of the press release at MOMA) and Landes' story-telling really didn't help. Landes talked about Suspension of disbelief and that is what he wanted to tell story with. He is saying everything right, in a way wrong, just because you stuff a film with grade-A auteur language, you can make a masterpiece.

As much as this film was successful in festival circuit, I think much success owes to Porfirio Ramírez Aldana incident. It is mare fact of Landes having an access to use Porfirio Ramírez Aldana as Porfirio Ramírez Aldana made a lengend of this film, but not the content, story-telling and drama of film. European film school nerd using Columbian subject matter in disguise of Latin American man as a director, but inside he is just as white as Porfirio's diaper.

http://movies.nytimes.com/2013/02/08/movies/porfirio-a-documentary-fiction-hybrid-by-alejandro-landes.html?_r=1&