Film: Close-Up
Director: Abbas Kiarostami
Country: Iran
Released: February 1990
Runtime: 98 minutes
Genre: Docufiction
Studio: Kanoon
Influenced: Asghar Farhadi, Jafar Panahi, Nuri Bilge Ceylan, Pedro Costa, Apichatpong Weerasethakul
Kiarostami conceived the idea for Close-Up after reading a newspaper article about a man, Hossain Sabzian, who had impersonated the famous Iranian film director, Mohsen Makhmalbaf. Sabzian had convinced a family that he was going to make a film with them and borrowed money from them to create a fake film crew and produce a short film. When the family realised the deception, they reported Sabzian to the authorities, leading to his arrest. Kiarostami was fascinated by the story and how it explored the relationship between reality and fiction. The film begins with the arrest of Sabzian for impersonating Makhmalbaf. Kiarostami, fascinated by the case, decided to film Sabzian's trial and his interactions with the family he deceived. The film captures the entire legal process, including the courtroom drama.
As the film progresses, it becomes clear that Kiarostami is interested in more than just documenting the events. He explores the motivations behind Sabzian's actions and delves into the lives of both Sabzian and the Ahankhah family, who were victims of the impersonation. Sabzian is portrayed sympathetically and the audience is invited to empathise with his desire to escape the drudgery of his own life and become a part of the world of cinema. Sabzian begins to take on the persona of Makhmalbaf, even dressing like him and using his name. He also starts to borrow money from people, claiming that he needs it for his film. Eventually, the family, especially Mrs. Ahankhah, becomes suspicious of Sabzian and they contact the police, leading to him being arrested and charged with fraud.
Kiarostami went where no director went before him, into Iranian police stations and court rooms. While Close-Up is a pioneering work of docufiction, there’s also a sense of playfulness in the film, such as the insecticide can that keeps getting kicked down the road. The defendant’s haunted, anxious look and the effects of malnutrition while in prison are real, adding a new layer to his performance. A powerful moment in the film is when Sabzian confesses to his impersonation in front of the family he deceived. It's a deeply emotional and cathartic moment. Kiarostami has said that Sabzian “told a truth beyond reality” – not a lie – to the family in regard to bringing a film crew to their house. Sabzian’s emotions at the end of the film are genuine at meeting Makhmalbaf (Kiarostami hid his camera in the trees to film the moment).
Kiarostami cast the real people involved in the case, including Sabzian and the Ahankhah family, to play themselves in the film, adding an unprecedented layer of authenticity. The film engages in a deep exploration of the nature of filmmaking itself, examining how cinema can both document and distort reality. The film also features a number of experimental techniques, such as the use of split screens and jump cuts. These techniques helped to create a sense of unease and uncertainty in the viewer. The director has said making Close-Up was like his own personal film school, learning new tricks like suppressing the sound and letting the images do the talking, enhanced by the music. The film won numerous awards, including the Palme d'Or at the 1990 Cannes Film Festival, and has been cited as an influence by many leading filmmakers, while also being a seminal work in the Iranian New Wave movement.
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