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film --- filmgeschiedenis --- eenentwintigste eeuw --- twintigste eeuw --- Iran --- Kiarostami Abbas --- 791.471 KIAROSTAMI

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The 'Three Colours Trilogy 'by Krzysztof Kieslowski (1941-1996) is generally regarded as a major triumph of European cinema. An examination of how the ideals of the French Revolution--liberty, equality and fraternity--have meaning in modern life, the trilogy combines visual elegance, narrative complexity, and virtuoso performances to extraordinary effect. In this highly personal appreciation of the trilogy, Geoff Andrew analyzes how Kieslowski used his command of the cinema to open up the inner lives of his characters and to chart the way in which these lives are ruled by unseen forces. For Andrew, the trilogy is a poignant, thrilling hymn to the resilience of compassion in the face of adversity. Tracing the links between the trilogy and Kieslowski's earlier work, he argues that 'Blue '(1993), 'White', and 'Red '(both 1994) are the summation of Kieslowski's art. This book, which concludes with one of the last interviews Kieslowski ever gave, is a tribute to an exceptional filmmaker.

Trois couleurs, blanc. --- Trois couleurs, bleu. --- Trois couleurs, rouge. --- Kieslowski, Krzysztof, --- Geoff Andrew --- Trois couleurs --- 791.471 KIESLOWSKI --- Motion pictures --- Cinéma --- History --- Histoire --- Kieślowski, Krzysztof, --- film --- filmgeschiedenis --- Kieslowski Krzysztof --- Polen --- Kieslowski, Krzysztof

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Motion picture producers and directors --- Producteurs et réalisateurs de cinéma --- Biography --- Biographies --- Ray, Nicholas,

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The Iranian director Abbas Kiarostami burst onto the international film scene in the early 1990s and was widely regarded as one of the most distinctive and talented modern-day directors. His major features - including Through the Olive Trees (1994), Taste of Cherry (1997) and The Wind Will Carry Us (1999) - are relatively modest in scale, contemplative and humanist in tone. In 2002, with 10, Kiarostami broke new ground, fixing one or two digital cameras on a car's dashboard to film ten conversations between the driver (Mania Akbari) and her various passengers. The results are astonishing: though formally rigorous, even austere, and documentary-like in its style, 10 succeeds both as emotionally affecting human drama and as a critical analysis of everyday life in modern Tehran.In his study of the film, Geoff Andrew considers 10 within the context of Kiarostami's career, of Iranian cinema's renaissance, and of international film culture. Drawing on a number of detailed interviews he conducted with both Kiarostami and his lead actress, Andrew sheds light on the unusual methods used in making the film, on its political relevance, and on its remarkably subtle aesthetic. He also argues that 10 was an important turning-point in the career of a film-maker who was not only one of contemporary cinema's most accomplished practitioners but also one of its most radical experimentalists. (Provided by publisher)