Amin Maher, Katayoun Taleidzadeh, Mandana Sharbaf, Mania Akbari, Roya Arabshahi
A drama that consists of a series of ten conversations that take place between the driver of a car, a middle-class Tehran woman in her 30's, and various passengers, including her young son.
DVD Release Date: November 2, 2004
Stats: 139 reviews
Hmmm... a bit too arty for me! Filmed like a home video and entirely shot in one Iranian women's car, this film explores both Iranian and womens' life through her various passengers.
In Taste of Cherry, the shift from narrative to documentary not only adds another layer to the film but separates and distances the audience and therefore creates a space for his/her presence in the film. For example, in the final sequence, where the hero lies in his grave, a lon...( read more)
I like film's photography, but well, it's not really necessary, not when you know what you're doing. Or: a film to watch with the eyes closed.
I found this sublime in an extraordinary manner. I mean, looking at it, it feels like it is carping on issues but not entirely, it is more on the difficulty of relationships. I found the female character to be somewhat an odd character, strong on one hand and yet weak and all hav...( read more)
After 10 it all goes downhill. That's when you have to take off your shoes to count your age.
I've reviewed this film on my blog already. However, I will add one thing here. This is very well directed, very emotional, very personal, and one cannot help but be jealous of the director.
More like a documentary than a movie, this movie is broken into ten segments, each discussing an aspect of the new Iranian society. The main protagonist is a young beautiful divorcee who has different conversations with her son, her sister, a prostitute, an old woman, and another...( read more)
Simples e ousado. No final do filme só pensei em uma frase: quero ver denovo.
Brilliant documentary from Kiarostami's favorite POV - in a car driver's seat. An extremely insightful look at the modern woman in Iran. Riveting performances.
No ordinary moviegoer, whether Iranian or American, can be expected to relate to [Kiarostami's] films. They exist for film festivals, film critics and film classes. full review
By the end you feel that the lives of the characters, and the complicated society they inhabit, have been illuminated. full review
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