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Critics reviews
Shirin
Abbas Kiarostami Iran, 2008
The chorus of cinephilic love silently performed by every single actress onscreen creates moments of singular, devastating unity—between the women and the screen, the women themselves, and the women and the audience. Whether that feeling holds when the lights go up is another question.
July 29, 2019
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By recording this soundtrack after shooting the close-ups, Kiarostami creates a provocation/game in the vein of the “conversations” in TASTE OF CHERRY and THE WIND WILL CARRY US that were shot one character at a time. As in all his work, the mystery of the present moment takes precedence over cause and resolution.
May 13, 2016
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When the audience becomes more alert, we are signaled to expect conflict or drama, though the nature of it is not always divulged. Frequently, Kiarostami gives viewers only enough to taunt them; the in-film audience reveals nothing but that there is something to be revealed. By denying film’s most important attribute—the visual—Shirin underscores the ability of imagery to create nuanced meaning.
September 19, 2014
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Shirin is not the most compelling of films to watch, but I found it a fertile experience for monitoring my own reactions to what I was witnessing and bringing to the surface actions that human beings perform unconsciously when we take in a person’s face and figure. I also found it an interesting experience in multitasking, dividing as I had to the images Kiarostami shot while keeping track of the sad story of Shirin.
March 22, 2013
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It doesn’t do justice to Shirin to call it the most conceptual of Abbas Kiarostami’s films. But it probably wouldn’t be an exaggeration to call it the most paradoxical. Not the least of its paradoxes is the way that it simultaneously confronts and defies the specter of commercial cinema, qualifying at once as his most traditional feature and his most experimental.
August 24, 2010
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