#123movies #fmovies #putlocker #gomovies #solarmovie #soap2day Watch Full Movie Online Free – Irreverent city engineer Behzad comes to a rural village in Iran to keep vigil for a dying relative. In the meanwhile the film follows his efforts to fit in with the local community and how he changes his own attitudes as a result.
Plot: Irreverent city engineer Behzad comes to a rural village in Iran to keep vigil for a dying relative. In the meanwhile the film follows his efforts to fit in with the local community and how he changes his own attitudes as a result.
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|7.5/10 Votes: 10,236|
|7.1 Votes: 94 Popularity: 7.437|
A Man In and Out of Time
A man out of time finds the way back in. And so, too, do we. Films about such big subjects, metaphysical, quasi-metaphysical, or near metaphysical, can’t afford to be petty. So this one meanders, lays a loose and light hand on its subject, finds and follows it by a process of mutual discovery, audience and film maker wandering an unknown road, led by faith in a final destination.
Three men journey from Tehran to a tiny remote village for purposes unknown. Contrasts evolve between their urban modernity and the ageless life of the rural village. They’re ostensibly there for the funeral of an ancient woman, a stranger, not a relative, who confounds their expectations by not dying. Let’s just say, for the sake preserving the mystery, that they’re there, in a way, to cheat death, to rob the villagers of a ritual they themselves fail to understand.
By way of first person narration, the film centers on their leader (Behzad Dourani), a man who accepts being called “engineer,” but really isn’t–or is he? The perspective is doubled: The world of the film narrowly revolves around him at the same time that it doesn’t, claustrophobically relating everything to his solitary universe, at the same time that it encompasses the full scope of a world independent of him, thus giving the lie to his limitations, his distortions and blindness. This is narrative executed with great skill, care, and a free imagination.
Forced to wait, idle and deprived of most of his customary modern distractions, his anxiety, emptiness, and his unease surface; this is a man out of time, who resists the present and fights against the future. His one connection to the outside world, a cell phone, requires every time it goes off that he drop whatever he’s doing to run to his truck and drive up to a mountain-top cemetery for clear reception, an association of technology with death concurrent with its indifference to and alienation from it, a comical escapade repeated periodically throughout to give the film a rhythm, an intrusive repetitious beat that contrasts with the natural rhythms of the village.
With nothing else to do, he gradually is tugged by and eventually succumbs to the life around him. This is the kind of movie in which a shot is held so a rooster can walk across the frame. We, too, are made to wait. While waiting, stuck in a plotless limbo, all sorts of beautiful and instructive things emerge from an apparently banal reality, if one cares to notice. There is the unassuming visual poetry of the world, the shadows on a wall of a woman hanging clothes, rolling hills of golden grass, and the organic architecture of a village molded into a hillside; and the subtlety of social interactions: the tender trust of a young boy; the engineer’s yearning for a pot of milk, which finally leads him into a primeval cave-like cellar alone with a fecund young woman who refuses his money; the casualness of the birth of a neighbor woman’s 10th child; the shrewish complaints of a cafe proprietor, which are answered by one her customers with implacable peasant wisdom; and so on, one scene following upon another, small miracles falling into our laps unannounced.
If only this process of poetic inference, metaphor, indirection, and openness were in more widespread use, commonly adapted, thus more fully developed, instead of the literal dry analytic “objectivity” which tyrannizes modern fictions, nails meaning as if to a cross. Here there isn’t even a hint of manipulation or exploitation, not a drop of didacticism. Instead, Kiarostami achieves the difficult feat of keeping water in cupped hands. The film teaches us to observe nature by observing nature.
A great movie by a great director
The Iranian film Bad ma ra khahad bord (1999) was shown in the U.S. with the translated title, The Wind Will Carry Us. It was written and directed by Abbas Kiarostami.
Behzad Dorani portray the engineer, who arrives at a remote rural village with a film crew. They’re there to film a funeral ceremony, for reasons that are revealed to us slowly and indirectly.
However, the woman who is dying, for whom the funeral is planned, is lingering on. This continues for weeks. The engineer’s crew wants to go home, and his editor in Tehran wants him to get the story. (An ongoing joke is the annoying fact that the engineer’s cell phone rings in the village, but the phone won’t work unless he leaps into his vehicle and drives to higher ground. This happens over and over during the film.)
While everyone is waiting, the engineer meets people, finds a young student who serves as his assistant, and recites poetry. In fact, a central scene is when the engineer recites the romantic poem “The Wind Will Carry Us” to a young woman. The poem was written by Forough Farrokhzad (1934 -1967). Farrokhzad is considered Iran’s most revered female poet.
The young woman in the move has attended school for five years. She asks the engineer for how many years Farrokhzad attended school. He gently tells her, “Five years. You don’t have to be a scholar to be a great poet.”
As is usual for Kiarostami, his camera doesn’t always show us the image we expect. We can hear–but never see–his camera crew. That’s also true of the dying woman and a man with whom he speaks when he’s at the top of the hill using his cell phone. (The man he’s talking to is digging a deep ditch, so we can’t see him.)
Sometimes the camera leaves the plot completely, to show us something we didn’t know we’d see. For example, in his frustration the engineer kicks a turtle. The turtle ends up on its back. We watch the turtle as it tries to right itself, although the engineer has driven away.
I love Kiarostami’s work, and I’ve tried to see every picture he’s directed. He is in a class of his own. I think that you either admire his work or don’t care for it at all. I admire it. The Wind Will Carry Us has a strong IMDb rating of 7.5. I thought it was even better than that, and rated it 9.
Original Language fa
Runtime 1 hr 58 min (118 min)
Rated Not Rated
Director Abbas Kiarostami
Writer Mahmoud Aiden, Abbas Kiarostami
Actors Behzad Dorani, Noghre Asadi, Roushan Karam Elmi
Country Iran, France
Awards 4 wins & 7 nominations
Production Company N/A
Sound Mix Mono
Aspect Ratio 1.85 : 1
Film Length N/A
Negative Format 35 mm
Cinematographic Process Spherical
Printed Film Format 16 mm, 35 mm