Browsing Category

by Tina Hassannia

by Tina Hassannia Retrospective

Shirin | Abbas Kiarostami

You’re not allowed to know the Iranian Woman. Not truly, anyway—not personally, and don’t even think about intimately. Not in public. In public, you must treat her with “respect,” which apparently means pretending she doesn’t exist—you mustn’t make eye contact. As a female tourist in Iran, you spend…

by Tina Hassannia Retrospective

Through the Olive Trees | Abbas Kiarostami

Abbas Kiarostami has mostly stayed away from love stories—he tends to find it impossible in his films to recreate situations that even remotely hint at intimacy, his art being so closely monitored by authorities whose conservative religious values disallow any such representation. Through the…

by Tina Hassannia Retrospective

Homework | Abbas Kiarostami

Abbas Kiarostami has never been shy of image manipulation in his documentary films. One almost hesitates to call Close Up a documentary, for instance, because of this manipulation, since no one can truly understand how much has been restaged or “acted” and how much should…

by Tina Hassannia Retrospective

The Report | Abbas Kiarostami

Ostensibly beyond Abbas Kiarostami’s typical terrain—particularly because of its complete lack of optimism—The Report feels like a puzzle piece from another game, if only at first. With the exception of its well-known domestic abuse scene, this cold, embittered “report” on Iranian life circa 1977 is…

by Tina Hassannia Retrospective

A Suit for Wedding | Abbas Kiarostami

Despite its perfectly befitting narrative set-up, and however enjoyable it is to watch, Abbas Kiarostami’s A Suit for Wedding doesn’t entirely live up to its potential. Three working-class apprentices secretly “borrow” an expensive suit from the tailor shop that employs one of the boys. There…

by Tina Hassannia Retrospective

The Experience | Abbas Kiarostami

The Experience is far removed from what most consider Abbas Kiarostami’s feature debut, The Traveller, despite preceding it by only one year. It shows the director’s potential even within a short narrative (just over 50 minutes), and is more complex than his two previous shorts.…

In Review | Online film and music criticism