Re: Excellent Whole Movies
HERE IS A SUMMARY OF THE ABOVE FILM:
¿WHERE IS THE FRIEND'S HOME?
The film that established director Abbas Kiarostami's reputation outside his native Iran, Where Is the Friend's Home? tells a simple story in such a spare fashion, many critics found its impact to be almost subliminal. As the film opens Ahmed (Ahmed Ahmed Poor), a grade schooler, watches as his teacher (Kheda Barech Defai) berates a fellow student, Mohammed (Babek Ahmed Poor), for repeatedly failing to use his notebook for his homework , threatening expulsion on the next offense. When Ahmed returns home, he realizes he's accidentally taken Mohammed's notebook. Against his mother's orders, he sets out in search Mohammed's house, encountering false leads, dead ends, and distractions as he attempts to enlist adults in his search. ~ Keith Phipps, Rovi
The title of the film was derived from a poem by Sohrab Sepehri Iranian poet:
The Address
The rider Asked in the twilight” where is the friend’s House? ”
Heaven paused
The passerby bestowed and the flood of light on his lips to darkness of sands
And pointed to a poplar and said:
“near the tree
Is a garden-line greener than God’s dream
Where love is bluer than the feathers of honesty
Walk to the end of the lane which emerges from
Behind puberty
Then turn towards the flower of solitude
Two steps to the flowers
Stay by the eternal mythological fountain of earth
Where a transparent fear will visit you
In the flowing intimacy of the space you will hear
A rustling sound
You will see a child
Who has ascended a tall plane tree to pick up
Chicks from the nest of light
Ask him
Where is the friend’s house?”
Sohrab Sepehri,(translated by:Mehdi Afshar)
TEN (10)
Directed by Abbas Kiarostami
Written by Abbas Kiarostami
Starring Mania Akbari
Amin Maher
Release date(s) 2002
Running time 89 minutes
Country Iran
Language Persian
Ten (Persian: ده) is a 2002 Iranian film directed by Abbas Kiarostami and starring Mania Akbari. It was nominated for the Palme d'Or at the 2002 Cannes Film Festival[1] and ranks at number 447 on Empire magazine's 2008 list of the 500 greatest movies of all time. [2]
Contents [hide]
It is divided into ten scenes, each of which depict a conversation between an unchanging female driver (played by Mania Akbari) and a variety of passengers as she drives around Tehran. Her passengers include her young son (played by Akbari's real life son, Amin Maher), her sister, a bride, a prostitute, and a woman on her way to prayer. One of the major plots during the film is the driver's divorce from her (barely seen) husband, and the conflict that this causes between mother and son.
Many of the cast were untrained as actors, and the film has an improvisatory element. Elements of the characters were based on the actual life of the main actress and her son. The film was recorded on two digital cameras, one attached to each side of a moving car, showing the driver and passenger respectively.
The film explores personal social problems arising in Iranian society, particularly the problems of women.
ORDINARY FASCISM.
Volume: Russian
Synopsis:
In sixteen chapters Mikhail Romm, the film’s director and narrator, explores the nature and origins of national socialism. Chapter I opens with children’s drawings and reflections about the universal meaning of childhood and parenting. Suddenly, a photo of a German soldier shooting a mother appears, followed by more images of killed children, demonstrating the inhumane essence of Nazism. Romm discusses the message of Hitler’s Mein Kampf, its author, his youth and political development. Chapter IV deals with the newsreels of the 1920s and 1930s, Chapters V and IX with the ‘culture’ and ‘art’ of the Third Reich. The cult of the ‘Fűhrer’ (Chapters VII, X, XIII) is linked to the devaluation of the individual, ultimately resulting in the willing participation of millions in unspeakable crimes. The film proves the intrinsic link between the ideology of national superiority (Chapter VI) and the racist contempt for other nations materializing in ghettos and concentration camps (XIV). A discussion of neo-Nazi tendencies in West Germany and other countries, as well as the forces that withstand these trends concludes the film.
