The English film titled "The Wind Will Carry Us" comes from a poem that explores life and death. This is another work in which Abbas Kiarostami raises questions. Life and death are fateful, far beyond human control. The film views this primitive village from the eyes of an outsider, with a sense of curiosity and voyeurism. The extremely simple image seems to be a real record of the food, clothing, housing and transportation of the engineer in the village. In fact, the film is full of symbolic symbols, such as the mountain tortoise crawling hard on the mountain, and the phone call that must be answered on the mountain. The villagers all hint at a difficulty in communication. In a difficult state, life is still beautiful, and the passage where an engineer goes to a dark cellar to buy milk is simply a poem: The girl in red clothes who refuses to show up looks like an oil painting under the dim light. The engineer thought about it. Poems, with a touch of warmth permeating the cellar, can be called the least traceable colorful passages. The seemingly simple documentary picture hides the scheming, it can be said that it is "deliberately" to maintain the recording style. Therefore, the shots are mostly shot in the middle and long range, and the audience is forced to be pure bystanders, and they also play the role of voyeurism.
The Wind Will Carry Us behind the scenes gags
2022-01-19 08:02
Extended Reading
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Hermann 2022-04-20 09:02:22
The protagonist comes here, working and awakening, so fascinated that he forgets the camera; discovery and curiosity are mutual and limited. Children are like guides, conversations are like proverbs; your ancestors hid well, we didn't; I'm growing up, but the house doesn't; children don't judge good and evil. Abbas's confrontation is too subtle, communication is difficult, answering the phone to go to a high tomb, there is always a tree beside the tomb, full of peaceful life; the female stall owner and the old man are arguing passionately; there are no idlers here; people We can't live without love; men leave when they see empty pant legs; stay here, you'll get used to it, before I get used to it, I'm leaving; the wind will take us away, the basin is full...women give men milk , men read poetry to women, work in the dark, communicate underground... the air here is pure, you have to smoke a lot to pollute it... i can't hear you, louder, we're disconnected... old age is scary Sickness, death is the scariest thing...they say this in nature...I picked up the camera as I left, let the gouged bones run down the river, my skin got goosebumps...
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Destin 2022-04-20 09:02:22
What are we waiting for? What wasted time in the long, meaningless wait? Was that village of crossing paths a labyrinth of Borges' fate and life? The shriveled old man gasped and clutched at the tail of life; the self-digging of the man who digs the tunnel. The scary thing in life is not aging and dying, but death, but we always miss life in confusion. Abbas' philosophy of life, the wind will take us to fly, that whizzing time and life.
Top cast
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Engineer: Hurry up. Get in.
Farzad: I can't come now.
Engineer: Why?
Farzad: I need one more answer for the exam.
Engineer: What is it?
Farzad: The fourth question.
Engineer: You don't know the answer?
Farzad: No.
Engineer: Why?
Farzad: Because I don't.
Engineer: What was it?
Farzad: What happens to the good and the evil on Judgment day? "
Engineer: That's obvious: the good go to Hell, and the evil go to Heaven. Is that right?
Farzad: Yes.
Engineer: No. the good go to Heaven, and the evil go to Hell. Hurry in and write that, then come back.
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Engineer: But it wasn't Farhad who dug Behistun.
Hole Digger: I know.
Engineer: Who Then?
Hole Digger: It was love. The love of Shirin.
Engineer: Bravo! You must know love.
Hole Digger: A man without love cannot live.