The movie focuses on one of the events in Zendegi Edame Darad (1992), and explores the relationship between the movie director, and the actors. The local actors play a couple who got married right after the earthquake. In reality, the actor is trying to persuade the actress into marriage.
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Did she say yes in the end? The way he came running back might mean she caved in in the end. That final shot is a masterpiece in itself. "palastic" <3 (Panahi's mustache was epic. Talk about him being the Iranian Tom Selleck).
On one level, the blurring of lines between the making of this film, the previous film, and the making of the previous film as staged in this film (?) produces a strange effect as you try to figure it out. On another level, it's a touching document of how lives that have suffered tremendous losses (in this case, due to an earthquake) try to find their way back to normalcy, grow relationships and live.
Brilliant film. Contains it all: meandering philosophy, fleeting love, and that urge, near madness, to connect with another person. In the absence of voice, we invent scenarios ourselves. Perhaps it's this quintessential shot of Hossein running up the hill after her that is most powerful and lasting from the film.
definitive masterpiece. this film blurs the boundaries between the reality and the fakery of cinema. the film had many layers, and is a film within a film within a film at points. the acting is perfect in its natural beauty. the landscapes become even more beautiful in this film, and that last shot is genius. easily the best part of this trilogy and it shows why kiarostami is the true auteur of world cinema.
The final in another critic branded triliogy!
Although I do see value in refering to these films as a trilogy, despite Kiarostami not agreeing ...
but yeah ... I loved this poetic study ... of a poetic study ... of a poetic and humble film!
Abbas Kiarostami completes his Koker Trilogy with this daring piece of minimalism. Looking back on it as a whole, this is one of cinema's most complex and meditative trilogies, and also amongst its finest!
A curious work that suggests, in a myriad of little ways, that life cannot conform to art--from the recalcitrant actors who for various reasons cannot say their lines, to the oddly substanceless and asymmetrical off-camera relationship between the on-camera couple, to that last shot that resolutely keeps the viewer (and director) at bay. We are reminded of the limits of representation, and the opacity of others.