Mary Poppins Returns
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All Critics (32)
| Top Critics (9)
| Fresh (27)
| Rotten (5)
| DVD (2)
Has a visual style that seems rudimentary but becomes increasingly hypnotic and resonant.
The talk flows persuasively; the picture pulses with art and humanity.
As the film's design becomes clear to us, a quiet spaciousness begins to inhabit it.
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.
[An] unexpected break in the narrative deepens the film's ambiguous ending and makes it more powerful.
Kiarostami executes a filmic social study that digs deep into the public and private psyche of Iran's male populace via the age-old query that Shakespeare elegantly distilled into, "to be or not to be; that is the question."
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.
Taste of Cherry might be Kiarostami's most difficult film.
An enduring meditation on living life. A great film.
The frustrating last scene feels like a copout included by Kiarostami only to draw some puzzling intellectual reaction from his audience; but still, this is a deeply human film that moves us in its simplicity while never offering a reason for a man wanting to end his life.
Abbas Kiarostami's 1997 film "Taste of Cherry" is a beautiful minimalist film composed mostly of long shots and close-ups of characters speaking to one another in a car. The story is relatively simple enough. Mr. Badii (Homayoun Ershadi) drives around Tehran looking for someone to burry him after he commits suicide. Badii is willing to pay whoever the man is. He has dug a hole in the hills somewhere and plans to lay in it and take some pills, he asks that whoever helps him to return at a certain time and call down to him, if he responds pull him up, if he doesn't cover him with dirt.
Badii deliberately drives around areas of town where men are out of work and looking for odd jobs. At first it is implied that he is a homosexual looking for sexual favors, but that quickly does not seem to be the case. He finds a few men who seem they could use the money, but they refuse to help him. He finally finds a Turkish taxidermist to help.
There is no mention of why Badii wants to committ suicide and there is little known about his character. Where did he come from? What does he do? Where did he get that money to offer these people? But, is all that really needed in a film this good? Does a film always need to develop characters and provide as much backstory for them as possible so the audience can identify with them?
"Taste of Cherry" is an Iranian film and Iran is a country that doesn't receive a lot of attention for their cinema, but recently Asghar Farhardi won an Academy Award for Best Foreign Film for "A Separation" and even received a Best Original Screenplay Oscar nomination. It's safe to say that maybe Americans should consider more Iranian cinema.
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.
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.
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