Taste of Cherry (Ta'm e Guilass) (1998)
In this dark, intense, and emotional film, a depressed middle-aged man travels the Iranian countryside searching for someone to bury him after he commits suicide. Eventually, he encounters a Turkish taxidermist who tries to get him to see life's beauty.
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Critic Reviews for Taste of Cherry (Ta'm e Guilass)
Has a visual style that seems rudimentary but becomes increasingly hypnotic and resonant.
The film is such a lifeless drone that we experience it only as a movie.
Kiarostami is in no rush, but the respect and love he shows for his characters, and the confidence and simplicity of his technique, make Taste of Cherry a satisfying experience.
Kiarastomi, like no other filmmaker, has a vision of human scale that is simultaneously epic and precisely minuscule.
As the film's design becomes clear to us, a quiet spaciousness begins to inhabit it.
Taste of Cherry confirmed Kiarostami as the most acclaimed director of Iran's rich film culture...
Kiarostami's insistence on putting a frame around his vision keeps the freedom of interpretation--and the responsibility for it--in the hands of the viewer.
An enduring meditation on living life. A great film.
The #1 U.S. release of 1998: 'A sublime and patient film...[Kiarostami] handles his profound material flawlessly.'
That Kiarostami keeps us guessing and caring to the very end as to how Mr. Badii will answer these questions, and that he accomplishes this concern on our parts with a startling spareness, is nothing less than Divine.
Que seja aberto a interpretações é um dos pontos positivos de 'Gosto de Cereja'. Que se feche de maneira tão terrível é seu - talvez - único ponto negativo.
Simplicity often leads to profundity, but A Taste of Cherry (especially the ending) represents lazy cinema that has been overrated by too many.
While it's interminably slow and I still haven't quite figured out why they went with the copout ending, I can't say it's not an interesting film.
The lack of information about the central character, which results in a distinct absence of emotional connection, leaves us cold to his fate.
For fear of revealing myself as a wanting intellectual, I found myself in a state of 'huh?' watching the conclusion to the lethargically-presented A Taste Of Cherry.
Although Ershadi's performance gives a clear sense of Badii's anguish, the screenplay does not give the character enough personal details to make him compelling.
I know from my past experiences with great filmmakers, that sometimes I don't like what I see from them the first time and later on change my mind...
I intellectually understand what occurs in the movie; I just can't make the leap into calling it a humanistic treasure about life's big questions.
Audience Reviews for Taste of Cherry (Ta'm e Guilass)
Taste Of Cherry director Abbas Kiarostami has effectively communicated life in its richest complexity that solicits insights and persuades an introspection. An art house film masterpiece. Burrowing.More
Another brilliant stroke from Abbas Kiarostami depicting a man seeking to end his life and taking a tour of characters in his community to ensure that he is buried. We get to see the reaction of characters to the main character's choice which leads to delightfully expected exchanges.More
*may contain small spoilers*
Palm d'Ore winner, Taste of Cherry, is a profound story about a young man who wished to end his life, but needs some help in doing so. Despite not being in one stationary setting, this film takes place in mostly one location, his car. It's not immediately clear what his intents are, even though one could predict it, there's also the possibility of him being a hit man. But he's not, he's just ready to end his life premature. The film grapples with deep ethical questions, and how much man is willing to stick to his roots. Some would say they'd never partake in assisted suicide no matter the money involved, and some the opposite. Similarly when the opportunity approaches it's much different than just having it as a rhetoric. The film is head deep in symbolism, and despite not much being said, everything is clear. The ending didn't really connect with me. Like Close-up (also directed by Kiarostami) the ending is up to many interpretations, but I think one thing is clear, it shows at the end it's a film. A reenactment or just a crew member remembering his past, I'm not sure.
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