Once upon a time, Abbas and the Iranian films he represents have almost become synonymous with world film art. They reproduce the face of social life with simple stories and simple forms, and let the audience go deep into the meaningful themes behind them. So can Abbas be Iran and can only be Iran?
In 2010, the master's film story left his homeland for the first time and went to Tuscany, Italy, and used star Juliet Binoche for the first time to complete the film "Legal Copy". We found that although the scenes are Italian, the style of the film and even the film itself is still Abbas. This time, the new film "Like a River in Love" in Cannes, a story that speaks Japanese thoroughly and tells the story of Tokyo's aided dating culture, still looks like a complete Abbas.
The story is about a day when a girl who lived and studied in Tokyo by aid and communication, her professional sociology also has some room for extension of imagination. When night came, she had to be arranged by a triad-like intermediary for a new business, and went to the other end of the city to find an old professor who looked like "Grandpa KFC". She was so tired that she didn't dare to go to the train station to face the sudden visit of her grandmother, so she finally arrived at the professor's house and fell asleep. The next day, the professor drove the girl back to school, and met the girl's official boyfriend, so the careful exploration of the truth made the interesting plot unfold gradually.
A contemporary urban story that couldn't be simpler, the old grandfather of Kentucky almost became the spiritual mentor of the girls, and before he had time to have even the slightest actual contact with the girl he paid for, the story came to a sudden climax. end.
"If I make a movie in Japan, people can't accuse me of making a movie for a Western audience. Making a movie in Japan is the same as in Iran, no matter if the actors speak Japanese or Farsi, subtitles are needed for Western audiences. Understand." Abbas explained the reason for Japan. In the observation of the film's French producer Marin Kamiz for many years, he found that, "For Abbas, what he always paid attention to during the filming of "Like a River of Love" was to remind himself not to be outside his native Iran. The place to forget the original self. I think all artists are essentially rooted in their homeland, but at the same time we want to see from them what the world can accept. How to avoid letting him in the gap Lost? How can he stay true to himself? Abbas has already delivered a perfect answer in The Legal Copy, and some critics in the United States and Brazil have even commented that the film is essentially an Iranian film." Obviously , This time, "Like a River of Love", which talks about Japanese culture in Japanese, is still an Iranian film that only looks like Abbas.
So, what does Abbas look like? It is the real relationship and emotional changes of the characters that are subtly fermented under the super-long shots. Reflected in "Like a River in Love", it is the long phone call of a girl who supports dating with her boyfriend in a bar, the sad state of mind when she sees her grandmother in a taxi passing through Tokyo, the cautious behavior of an old man in his room, and the driving. Greetings when going to school.
As for whether there is any meaningful theme behind it, it all depends on the audience's own interpretation.
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