Did any one else...


get reminded of groundhog day when watching this movie? I mean it's the "Same *beep* different day" thing. I didn't even notice the day changed until someone said that they've been there a week halfway through the film. Abbas sure love his ellipses.

On another note, some of this movie was torturing. While I liked how it felt like the film groundhog day (without bill murray humor), that was also it's flaw. Repeating the same parts several times was amusing at first, but then I just was annoyed.

Also, I was told in my readings on Iran and Iranian film that reading Persian poetry is like serenading to them. So, was he trying to hit on the milkmaid? I did think he gave her a strange look when she drove off on her motorbike at the cemetary hill.

P.S.: The part on the hill when he was on the phone and he picked up a stray femur bone and used it as a back scratcher made me laugh out loud.

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This film is a bit of a critic's darling but why is anyone's guess. It has absolutely nothing to say. Desperately disappointing.

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The thing about truly great films is that you can watch them many times over and learn something new each time. That being said, if you couldn't get from viewing this once at least to appreciate life, then this type of film is not for you.

I did not find one second of this movie to be boring, but if your favorite movie is Independence Day or you have Michael Bay posters in your bedroom, then you will probably find it "desperately" so.

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I did not find one second of this movie to be boring, but if your favorite movie is Independence Day or you have Michael Bay posters in your bedroom, then you will probably find it "desperately" so.

This seems to be the standard response to someone who dislikes a film by someone who is passionate about it. It may be true of some but idene you have displayed your ignorance because you are way wide of the mark here. I watch films across all ages, languages and genres. The condescending nature of your reply is also particularly loathesome. You are going on my ignore list as comments like this don't warrant reading.

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Oh, don't be so offended, BowllyBoy! You are right, I am passionate about this movie and think that it is artistically beautiful, tells a great story, and has a great message.

I agree, my reply to you was a bit too condescending, but then you should also admit that your comment that the movie has "absolutely nothing to say" is a bit extreme. Kiarostami has plenty to say in his movies, he just doesn't beat you over the head with it like a Hollywood movie director does. That's what I was getting at when I said you can watch a movie like this many times and learn something new each time.

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Don't worry about it, and don't let fools manipulate you, particularly not with clichés. With such an unjust world, and stupidity being one of its root causes: BE condescending and be it as liberally as you like. The person was not particularly stupid either, but he was falling short, so maybe you even help it along.
The root of the word "arrogance" is "to know", and while that is cliché, I add that if your arrogance truly is smart (yours was) then it is valid; if it/ a person is arrogant AND stupid, THAT is when we should take issue.

Please; the world seems to be made up of about 50 to 60% sheer stupidity +- 40% pseudo-intellect, AND IT'S WORSE ONLINE! So that leaves a tiny proportion of perfectly valid, well thought, (individually thought), intelligence.

Keep up the good work.

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You are joking, right?
Romance, true romance, if it has an object - it has and always be, imagined. You may love the girl, but your romance is your projection/s onto the unknown. Do I need to spell it out to you?
Persian poetry is cited (by those in the know) as a turning point in the history of art, at least literature - it is probably where most of our contemporary conceptions of romance were born, or took root.
Imagine, if you have ever felt that your love was too big to fathom, or control, maybe that feeling and/or its expression was as influenced by the Persians as understanding your desire to *beep* your mother, was influenced by the greek myth/s and Freud.

You were "told that in your readings"!? Sheet. That's another thing that can go wrong with academic approaches. You were told how to read something!?
Re that serenade; do you listen to Farsi without prejudice - wow, it is a stunning, sing-song language, don't you think.

To watch and enjoy this, you need almost a couple of hours to kill, and to be relaxed, and be able to NOT PROJECT for once in your unintelligent life. How could you give credit to a film that delivered everything you wanted -(projection)- from it??

I guess this film is almost meditation. Have you ever meditated? Try it and it might be your greatest, personal revolution.

Finally, it's so "funny", with modern media, non-stop information and entertainment, and people are as stupid as ever.

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This seems to be the standard response to someone who dislikes a film by someone who is passionate about it.
These 'standard responses' follow the dull cliches of those who don't get anything from a film and implicitly criticise those who do.
In the midst of winter, I found there was, within me, an invincible summer

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It took me four attempts to actually see the whole lot of the film. I found it by far the hardest of the Kiarostami's i've seen so far to get through but I really liked it by the time it finished and I hope to watch it again.

Hes got this way of producing films which have a really rich, dense texture but appear so deceptively simple, almost like there's nothing going on.

This one is definitely the most radical departure I've seen him make from classical narrative cinematic conventions. The complete lack of any substantive plot or character development (to the point where we really only see two or three of the characters throughout the whole film), apart from the protagonist, makes this really formally interesting for me.

Also the way it appears at first like he is going to do nothing more then introduce the same motifs which appear in Life and Nothing More and A Taste of Cherry, only to deliberately undermine the expectations of the viewer by employing these recurring scenes and images to give substance to some different perspective (what it is exactly im not too sure) on the set questions which he seeks to explore throughout his work.

My favourite of his films after A Taste of Cherry and Close-up

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You are joking, right?
Romance, true romance, if it has an object - it has and always be, imagined. You may love the girl, but your romance is your projection/s onto the unknown. Do I need to spell it out to you?
Persian poetry is cited (by those in the know) as a turning point in the history of art, at least literature - it is probably where most of our contemporary conceptions of romance were born, or took root.
Imagine, if you have ever felt that your love was too big to fathom, or control, maybe that feeling and/or its expression was as influenced by the Persians as understanding your desire to *beep* your mother, was influenced by the greek myth/s and Freud.

You were "told that in your readings"!? Sheet. That's another thing that can go wrong with academic approaches. You were told how to read something!?
Re that serenade; do you listen to Farsi without prejudice - wow, it is a stunning, sing-song language, don't you think.

To watch and enjoy this, you need almost a couple of hours to kill, and to be relaxed, and be able to NOT PROJECT for once in your unintelligent life. How could you give credit to a film that delivered everything you wanted -(projection)- from it??

I guess this film is almost meditation. Have you ever meditated? Try it and it might be your greatest, personal revolution.

Finally, it's so "funny", with modern media, non-stop information and entertainment, and people are as stupid as ever.

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