And Life Goes On...

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mohammed M. @9mr_0 6d بساطة مؤلمة تمشي بهدوء الفلم جميل جدا وهادي . القصة بسيطة جدًا، ما بيها تعقيد أو أحداث كبيرة، لكن بيها إنسانية واضحة. الفلم ما يحاول يضغط عليك حتى تتعاطف مع قصته او اجوائه بلعكس كلشي يمشي بهدوء وكأن الحياة تكمل حتى لو الدنيا انقلبت. الحوارات رائعة تحسها حقيقية مو مكتوبة . أكو لحظات صامتة لكن مع صورة تشرح نفسها ما تحتاج الى حوار وهل شيء رائع جعلني كمشاهد احس بالفلم . التمثيل عفوي جدًا، ماكو استعراض أو مبالغة. الشخصيات تبين عادية جدًا، ناس مثل أي ناس ممكن تشوفهم بحياتك اليومية. لكن كل شخصية منهم ابدعت في سرد قصته لدرجة انك تحس ان هذا مو فلم تجربه واقعيه. الإخراج بسيط، ما بي استعراض بصري، الكاميرا تمشي ويه الشخصيات بهدوء وتخليك تراقب الحياة تمشي قدامك بدون تدخل. يمكن البعض يشوفه بطيء، بس البطء هنا رائع ليجعل المشاهد يستمتع بالحوارات و القصص التي ترويها شخصيات الفلم. الموسيقى شبه غايبة أغلب الوقت، لكنها لما تدخل تكون خفيفة وهادية جدًا ومناسبة للمشهد و جو الفلم العام. باختصار: فلم هادئ، إنساني عتمد على الحوارات الصادقة مع اخراج متمكن جدا سرد قصة بسيطة باسلوب رائع See more Dave S 10/29/2024 In And Life Goes On, the second instalment in Abbas Kiarostami’s renowned Koker Trilogy, an Iranian director (not named, but it’s clearly Kiarostami, played by Farhad Kheradmand) and his young son travel to Koker after a horrific earthquake to check on the status of his two young actors from Where is the Friend’s House, which was shot in the Koker area. Beautifully shot, directed, scored, and acted, And Life Goes On is a testament to the resilience of the human spirit. In the face of unimaginable tragedy, the people of the region continue with their lives as they speak of weddings, seek out a way of watching the World Cup, and carry on with their daily routines amidst the rubble. As devasting as many of the scenes are, it ultimately leaves the viewer with a feeling of joy and optimism. See more William L 02/04/2021 A play on Kiarostami's previous film Where is the Friend's Home, Life, and Nothing More operates as a more meta film; where its predecessor was a pure cinematic experience that emulated neorealist classics, this follow-up is more focused on the practice of filmmaking itself (as well as watching films), including the interpretation of reality, how it transfers to screen or is dramatized, and how viewers will interpret it. Built around the premise that life imitates art, the film seeks to expand upon its roots (treated in-universe as fictitious) by creating explicit parallels to the 'reality' of the events of Life, and Nothing More. While one of those parallels is repition of small-scale events in pursuit of a greater significance (the ignored Ahmed in the original, the lost director in the sequel), parts of this structure seem to stick out in this second entry; the depiction of the resilience and uplifted spirits of the Iranian people in the wake of tragedy is done to death, and actually starts to take away from its message as the film proceeds ("we lost 65 relatives, so we decided to get married"). There is still an underlying understanding of collaboration and mutual support that is admirable and often touching, but I can't help but feel that this film loses a bit of the poetic structure that made the original so beloved. More zigzag pathways to provide deliberate references to the predecessor film than you can shake a stick at! (4/5) See more 07/24/2020 Much of the beginning of the film is simply watching the world pass by out of a car window. Left to right, left to right, left to right… in time, the stubborn search takes them literally off the beaten path and onto the omnisciently viewed zigzagging dirt pathways that would become a Kiarostami visual signature. As the driver heads into the scene of the recent major earthquake, scores of aid workers and volunteers are seen clearing rubble and attempting to help those in need. (View from the car window is an unbroken master shot of the flurry of activity. Not one body is static as we move passed the desperate scene of crumpled structures and multilayered destruction. And then, the first obvious bit of Kiarostami's conceptual onion skinning makes itself apparent. In this movie, the other movie is a movie. Eventually, we learn that the driver is a film director and the boy is of course his son. The "film director" is actually carrying with him a small French poster of Where is the Friends House?, displaying a large picture of its youthful star. He shows it several villagers along the way, asking if they've seen the boy. In this film, this man, not Kiarostami directed Where is the Friends House?. Everyone is familiar with the film, referencing the shoot itself. Some even recall having been in the film as an extra. Now though, the director is just another desperate guy in a car looking for someone. See more 10/06/2014 Excellent film. Highly recommended. Must watch. See more 06/27/2014 Delightfully and essentially Kiarostami ... See more Read all reviews

And Life Goes On...

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