1970s
In 1969, when the Iranian New Wave began with Dariush Mehrjui's film
G?v, Kiarostami helped set up a filmmaking department at the Institute for Intellectual Development of Children and Young Adults (Kanun) in Tehran. Its debut production and Kiarostami's first film was the twelve-minute
The Bread and Alley (1970), a neo-realistic short film about an unfortunate schoolboy's confrontation with an aggressive dog.
Breaktime followed in 1972. The department went on to become one of Iran’s most famous film studios, producing not only Kiarostami's films, but acclaimed Persian films such as
The Runner and
Bashu, the Little Stranger.
In the 1970s, as part of the Iranian cinematic renaissance, Kiarostami pursued an individualistic style of film making. When discussing his first film, he stated:
"Bread and Alley was my first experience in cinema and I must say a very difficult one. I had to work with a very young child, a dog, and an unprofessional crew except for the cinematographer, who was nagging and complaining all the time. Well, the cinematographer, in a sense, was right because I did not follow the conventions of film making that he had become accustomed to."
Following
The Experience (1973), Kiarostami released
The Traveler (
Mossafer) in 1974.
The Traveller tells the story of Hassan Darabi, a troublesome, amoral ten-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 in time for 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 closest to him. The film is an examination of human behavior and the balance of right and wrong. The film furthered Kiarostami's reputation of realism, diegetic simplicity, and stylistic complexity, as well as showing a fascination with physical and spiritual journeys.
In 1975, Kiarostami directed two short films
So Can I and
Two Solutions for One Problem. In early 1976, he released
Colors, followed by the fifty-four minute film
A Wedding Suit, a story about three teenagers coming into conflict over a suit for a wedding. Kiarostami's first feature film was the 112-minute
Report (1977). It revolved around the life of a tax collector accused of accepting bribes; suicide was among its themes. In 1979, he produced and directed
First Case, Second Case.
1980s
In the early 1980s, Kiarostami directed several short films including
Dental Hygiene (1980),
Orderly or Disorderly (1981), and
The Chorus (1982). In 1983, he directed
Fellow Citizen, but it was not until 1987 that Abbas began to gain recognition outside of Iran with the release of
Where Is the Friend's Home?.
Where Is the Friend's Home? tells a deceptively simple account of a conscientious eight-year-old schoolboy's quest to return his friend's notebook in a neighboring village failing which his friend will be expelled from school. The traditional beliefs of Iranian rural people were depicted throughout the movie. The film has been noted for its poetic use of the Iranian rural landscape and its earnest realism, both important elements of Kiarostami's work. Kiarostami also made the film from a child's point of view, without the condescending tone common to many films about children.
Where Is the Friend's Home?,
And Life Goes On (1992) (also known as
Life and Nothing More), and
Through the Olive Trees (1994) are described by critics as the
Koker trilogy, because all three films feature the village of Koker in northern Iran. The films are based around the 1990 earthquake disaster in which 50,000 people lost their lives; Kiarostami uses the themes of life, death, change, and continuity to connect the films. The trilogy went on to be become successful in France in the 1990s and other countries such as the Netherlands, Sweden, Germany and Finland. However, Kiarostami does not consider the 3 films as part of a trilogy, suggesting instead that the last two titles plus
Taste of Cherry (1997) comprise a trilogy, given their common theme ... the preciousness of life. In 1987, Kiarostami was involved in the screenwriting of
The Key, which he edited but did not direct. In 1989, he released
Homework.
1990s
In 1990, Kiarostami directed
Close-Up, which narrates the story of the real-life trial of a man who impersonated film-maker Mohsen Makhmalbaf, conning a family into believing they would star in his new film. The family suspects theft as the motive for this charade, but the impersonator, Hossein Sabzian, argues that his motives were more complex. The part documentary, part staged film examines Sabzian's moral justification for usurping Makhmalbaf's identity, questioning his ability to sense his cultural and artistic flair.
Close-Up received praise from directors such as Quentin Tarantino, Martin Scorsese, Werner Herzog, Jean-Luc Godard, and Nanni Moretti and was released across Europe.
In 1992, Kiarostami directed
Life, and Nothing More..., regarded by critics as the second film of the Koker trilogy. The film follows a father and his young son as they drive from Tehran to Koker in search of two young boys who they fear might have perished in the 1990 earthquake. As they travel through the devastated landscape, they meet earthquake survivors forced to carry on with their lives amid tragedy.That year Kiarostami won a Prix Roberto Rossellini, the first professional film award of his career, for his direction of the film. The last film of the so-called
Koker trilogy was
Through the Olive Trees (1994), which turns a peripheral scene from
Life and Nothing More into the central drama.Critics such as Adrian Martin have called the style of filmmaking in the
Koker trilogy as "diagrammatical", linking the zig-zagging patterns in the landscape and the geometry of forces of life and the world. A flashback of the zigzag path in
Life and Nothing More... (1992) in turn triggers the spectator’s memory of the previous film,
Where Is the Friend’s Home? back in 1987, shot before the earthquake. This in turn symbolically links to post-earthquake reconstruction in
Through the Olive Trees in 1994.
In 1995, Miramax Films released
Through the Olive Trees in the US theatrically.
Kiarostami next wrote the screenplays for
The Journey and
The White Balloon (1995), for his former assistant Jafar Panahi. Between 1995 and 1996, he was involved in the production of
Lumière and Company, a collaboration with 40 other film directors.
In 1997, Kiarostami won the
Palme d'Or (Golden Palm) award at the Cannes Film Festival for
Taste of Cherry, the tale of a desperate man, Mr. Badii, hell-bent on committing suicide. The film involved themes such as morality, the legitimacy of the act of suicide, and the meaning of compassion.
In 1999, Kiarostami directed
The Wind Will Carry Us, which won the Grand Jury Prize (Silver Lion) at the Venice International Film Festival. The film contrasted rural and urban views on the dignity of labor, addressing themes of gender equality and the benefits of progress, by means of a stranger's sojourn in a remote Kurdish village. An interesting feature of the movie is that many of the characters are heard but not seen, and there are at least thirteen to fourteen characters in the film who remain invisible throughout.
2000s
In 2002, Kiarostami directed
Ten, revealing an unusual method of filmmaking and abandoning many scriptwriting conventions. Kiarostami focused on the socio-political landscape of Iran, and the images are seen through the eyes of one woman as she drives through the streets of Tehran over a period of several days. Her journey is composed of ten conversations with various passengers, which include her sister, a hitchhiking prostitute and a jilted bride and her demanding young son. This style of filmmaking was praised by a number of professional film critics such as A. O. Scott in
The New York Times, who wrote that Kiarostami, "in addition to being perhaps the most internationally admired Iranian filmmaker of the past decade, is also among the world masters of automotive cinema...He understands the automobile as a place of reflection, observation and, above all, talk."
In 2001, Kiarostami and his assistant, Seifollah Samadian, traveled to Kampala, Uganda at the request of the United Nations International Fund for Agricultural Development, to film a documentary about programs assisting Ugandan orphans. He stayed for ten days and made
ABC Africa. The trip was originally intended as a research in preparation for the actual filming, but Kiarostami ended up editing the entire film from the video footage obtained. Although Uganda's orphans are overwhelmingly the result of the AIDS epidemic,
Time Out editor and National Film Theatre chief programmer Geoff Andrew stated about Kiarostami's film: "Like his previous four features, this film is not about death but life-and-death: how they're linked, and what attitude we might adopt with regard to their symbiotic inevitability."
In 2003, Kiarostami directed
Five, a poetic feature with no dialogue or characterization. It consists of five long shots of nature which are single-take sequences, shot with a hand-held DV camera, along the shores of the Caspian Sea. Although the film lacks a clear storyline, Geoff Andrew argues that the film is "more than just pretty pictures". He further adds, "Assembled in order, they comprise a kind of abstract or emotional narrative arc, which moves evocatively from separation and solitude to community, from motion to rest, near-silence to sound and song, light to darkness and back to light again, ending on a note of rebirth and regeneration." He further notes the degree of artifice concealed behind the apparent simplicity of the imagery.
In 2004, Kiarostami produced
10 on Ten, a journal documentary that shares ten lessons on movie-making while driving through the locations of his past films. The movie is shot on digital video with a stationary camera mounted inside the car, in a manner reminiscent of
Taste of Cherry and
Ten.
In 2005 and 2006, he directed
The Roads of Kiarostami, a 32-minute documentary that reflects on the power of landscape, combining austere black-and-white photographs with poetic observations, engaging music with political subject matter.
In 2005 Kiarostami contributed the central section to
Tickets, a portmanteau film set on a train traveling through Italy. The other segments were directed by Ken Loach and Ermanno Olmi.
In 2008 he directed the feature
Shirin.
2010s
As of April 2010, Kiarostami's next film is
Certified Copy which has been shot in Tuscany. It is his first film which has been shot and produced outside Iran. It was entered in competition for the Palme d'Or in the 2010 Cannes Film Festival.