Contrasts evolve between their urban modernity and the ageless life of the rural village. Three men journey from Tehran to a tiny remote village for purposes unknown. So this one meanders, lays a loose and light hand on its subject, finds and follows it by a process of mutual discovery, audience and film maker wandering an unknown road, led by faith in a final destination. Films about such big subjects, metaphysical, quasi-metaphysical, or near metaphysical, can't afford to be petty. 10/10.Ī man out of time finds the way back in. Much like my very favorite Kiarostami film, Where Is the Friend's Home?, the culture and people of this isolated area is painted by the director's brush. The film is absolutely gorgeous, capturing some of the most beautiful landscapes in the world. But perhaps I can accept the doctor's message easier because the director has succeeded in demonstrating just how wonderful the world is. No one has come back from the other side and proved that it is better there.') which comes dangerously close to the kind of third-act speech which ruined, in my opinion, Kiarostami's previous film, A Taste of Cherry. The doctor has a lot of dialogue (`We don't want to let go of this life because we know how beautiful this world is. Later, he helps save another man's life and then brings the doctor who has shown up to help the dying old woman (the crew had been there for over two weeks at this point). After he leaves, we see it rock itself back over onto its feet. When on the top of the hill, Dourani kicks a tortoise onto its back and leaves it for dead. The comedy shifts to philosophy in the second half of the picture, where the nature of life and its relationship with death is explored. Dourani obviously can't kill the woman, but when a young boy tells him about the purpose of some bowls of soup the locals are offering her if she eats the soup you made, you get your wish we can almost hear him thinking what his wish would be. There's a nice strain of black humor running through the movie. Since he can only get the signal when on the highest point of the area, he must jump in his car and race to the top of a hill. The person who is funding him pesters him constantly by calling his cell phone. Unfortunately (or fortunately, depending on your point of view), the woman keeps getting better, keeping Dourani and his crew stuck there. He has heard that an old woman is about three days from death. A man (Behzad Dourani) comes to a rural town with his crew to document the bizarre funeral ceremony of the locals. Watching my first Abbas Kiarastami's movie was a very rewarding experience. The film's serious political and social metaphors and overtones are undeniable but in its core, it is a moving, life-confirming, and soulful comedy. One of my friends, who had recommended the movie to me, suggested that it should not be over- aestheticized and I totally agree. Nothing much happens with the exception of waiting and repetitions of the same conversations on the cell phone with the constant interruption of calls but the honest and poetic celebration of the world around us shines through every frame of this ode to joy of life. The lady does not seem to hurry to meet her Creator. While there, all they can do is wait for an old lady to die and to hope that it would happen sooner than later. "Wind Will Carry Us" tells the story of Behzad, the documentary director, who travels with his crew from Tehran to the tiny remote village of Siah Dareh where they hope to document an ancient funeral ritual. It is a very interesting and compelling film that on the surface seems to be one of the most boring ever made.
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