Through the Olive Trees Page #6

Synopsis: The movie focuses on one of the events in Zendegi Edame Darad (1992), and explores the relationship between the movie director, and the actors. The local actors play a couple who got married right after the earthquake. In reality, the actor is trying to persuade the actress that they should get married.
Genre: Drama
Director(s): Abbas Kiarostami
Production: Artificial Eye
  5 wins & 5 nominations.
 
IMDB:
7.8
Rotten Tomatoes:
83%
G
Year:
1994
103 min
808 Views


You must have put them

in your shoes.

In my shoes?

I don't think so.

But since you say so, fine.

I'll go and look in my shoes.

Okay.

Oh! They are in my shoes!

You look

as if you just got married.

Yes.

How long ago?

Five days.

Five days or five months?

Five days!

You mean the night of the tremor?

One day later.

Hey, stop pouring water!

Sorry, I was watering the flowers.

You can water them,

but check if there's anyone below!

All right. Sorry.

Don't yell at her. So many people

were buried under the rubble,

a few drop of water on my head

won't harm me...

There can't have been

many victims

in your family for you

to get married the day after.

There were.

Cousins,

aunts, uncles...

All told,

they must be 65 dead...

I thought,

if I wait for the elders' approval,

one will say to wait

until the third day of mourning,

another the seventh day,

another the fortieth,

or even the whole year!

If we'd listened to them,

we'd have had to wait a long time.

So we decided to marry,

to come here.

And get it over with.

- You brought her here?

- Yes...

No, not here...

We've been her three days.

At first, we lived under

a sheet of plastic.

What? A sheet of plastic?

You mean plastic?

I had bought 20 yards

of plastic for the rice fields.

I used it for something else.

I stuck four feet in the ground

and, with the plastic,

made a roof to protect us

from the rain.

And we moved in beneath it.

- It was your wedding room?

- Yes.

- What did you do after?

- What did you do after?

- For food?

- For food?

Well, we didn't have

any plates or things left.

I thought we'd go and look

at the place where we used to live

to see if I could find any.

I looked through the rubble

and I found a pot,

a plate and a couple of spoons.

We washed them...

and brought them back

to our plastic shelter.

Then I went to the bazaar,

to see if I could find

something to eat.

I saw two trucks

from the emergency services

parked alongside the highway.

One was giving out tents

and the other tomatoes.

We got there too late for the tents,

but we managed to get

a few tomatoes.

We washed them.

I made myself a wooden skewer

and I put the tomatoes on it.

I grilled them and we ate them.

- As your wedding banquet?

- Yes...

Cut!

That was good. We've finished.

Thank you, everybody.

Hossein, do us a favour

and bring us some tea.

- Have some.

- No thank you.

Reza, bring that box over.

This is how it'll be.

Sometimes, I'll serve the tea,

sometimes you.

That's the way...

I see married life.

That's what life is!

- Hossein!

- Yes?

Mr. Nazari?

Put one of the flower-pots here.

These are too dry.

Hossein, come and give us a hand.

Hossein is tired, let him rest.

Mr. Hossein won't dirty his hands

with shovels and bricks.

We shouldn't either.

He's decided not to be

Mrs. Shiva is right.

I swore I'd never

do that work again.

If I ever do it again,

it will be only for you.

It's not a bad job these days.

I could easily make 1,500 tomans

a day more than a doctor.

that's 45,000 toumans a month.

We can put by 10,000 tomans

for your study fees

and transport and we can keep...

- Hossein?

- Yes.

- Where are you?

- Here.

- Where's your jacket?

- It's downstairs.

- Go and put it on.

- All right.

- Faster than that.

- All right.

Are you ready?

- Start the sound.

- Recording.

Camera.

- Scene 14, shot 2, take 1.

- Action!

Did they know,

the people who died?

Well, as long as we're living,

we have to start a family.

Perhaps the next quake

will kill us all too.

- Am I wrong, sir?

- No.

Look, you forgot this.

Cut!

Why "look"?

He's got a name, hasn't he?

"Mr. Hossein."

Say:
"Mr. Hossein, you forgot this."

That's all.

Do it again.

Scene 14, shot 2, take 2.

Action!

Did they know,

the people who died?

Well, as long as we're living,

we have to start a family.

Perhaps the next quake

will kill us all too.

- Am I wrong, sir?

- No, you're right.

Hossein, you forgot this.

He hasn't held his hand out yet,

so why are you doing it?

Miss Tahereh,

not "Hossein", but "Mr. Hossein".

Do it again.

- Ready?

- Sound.

- Recording.

- Camera.

Shot 2, take 3

Action!

Did they know,

the people who died?

Well, as long as we're living,

we have to start a family.

Perhaps the next quake

will kill us all too.

- Am I wrong, sir?

- No, you're right.

Hossein, you forgot this.

Cut!

Why "Hossein"?

You have to say "Mr.Hossein"!

How many times

do I have to tell you?

Shot 2, take 4

Did they know,

the people who died?

Well, as long as we're living,

we have to start a family.

Perhaps the next quake

will kill us all too.

- An I wrong, sir?

- No, you're right.

Hossein, you forgot this.

Cut!

Tahereh,

you said "Hossein" again!

I already told you.

You have to say "Mr. Hossein".

Shot 2, take 5.

Did they know,

those which died?

Well, as long as we're living,

we have to start a family.

Perhaps the next quake

will kill us all too.

- Am I wrong, sir?

- No, you're right.

Hossein, you forgot this.

Cut!

She still didn't say it!

Excuse me, sir,

do you know

some women here

no longer call

their husbands "Mr."?

Miss Tahereh

cannot manage to say it either.

I don't think it will seem

implausible in the film.

No, it won't seem implausible.

- One more time?

- No.

- Is that a wrap?

- Yes.

Thanks, guys.

Let's clear everything away

Thank you, Mr. Jafarian.

Hossein, put the glasses in the car.

It's getting late.

Tahereh, pick up your book.

It's over.

- For me?

- Yes.

You won't say

your lines properly.

Where are the Ahmadpour boys?

Put your flower pots in the car.

Tahereh, take your flower-pot too.

Do you know which one it is?

Don't take somebody eases.

Hurry...

Pick up your flower-pots.

Wait, let Tahereh come down first.

Put them in the back.

We're leaving now.

Run, children, hurry.

Can't you find your flower-pots?

How many did you have, Babak?

- I had two.

- Don't dawdle, come on.

It had two red flowers.

It's not here!

Look for it then, but hurry.

Isn't it the one on the corner?

There. Take it,

there on the corner.

Careful you don't break the stem.

Put it in the back somewhere.

Where's Mr. Nazari?

- Is the minibus here yet?

- It's on its way.

Tahereh, put it in the back

and then sit down, I'm coming.

Hossein, change your shoes

and put the flower-pots away.

All right.

Let's take down the canvas.

Hossein, do me a favour,

untie the ropes.

We're putting the canvas away.

All right, sir.

Can you serve us some tea?

I just did!

Yes, but Reza drank my cup.

Guys, Hossein's tired,

leave him alone.

Put the glasses in the car

and get in.

Mr. Karimi,

don't put that in the car.

Wait for the minibus.

But there won't be room

in the minibus.

What do we do, Mr. Panahi?

Let the children go first,

the minibus will soon be here.

Let the children go first,

the minibus will soon be here.

We have to be organized

and professional.

Three people can take the minibus,

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Abbas Kiarostami

Abbas Kiarostami (Persian: عباس کیارستمی‎ [ʔæbˌbɒːs kijɒːɾostæˈmi] ( listen); 22 June 1940 – 4 July 2016) was an Iranian film director, screenwriter, poet, photographer and film producer. An active film-maker from 1970, Kiarostami had been involved in over forty films, including shorts and documentaries. Kiarostami attained critical acclaim for directing the Koker trilogy (1987–94), Close-Up (1990), Taste of Cherry (1997) – which was awarded the Palme d'Or at the Cannes Film Festival that year – and The Wind Will Carry Us (1999). In his later works, Certified Copy (2010) and Like Someone in Love (2012), he filmed for the first time outside Iran: in Italy and Japan, respectively. Kiarostami had worked extensively as a screenwriter, film editor, art director and producer and had designed credit titles and publicity material. He was also a poet, photographer, painter, illustrator, and graphic designer. He was part of a generation of filmmakers in the Iranian New Wave, a Persian cinema movement that started in the late 1960s and includes pioneering directors such as Bahram Beyzai, Nasser Taghvai, Ali Hatami, Masoud Kimiai, Dariush Mehrjui, Sohrab Shahid Saless and Parviz Kimiavi. These filmmakers share many common techniques including the use of poetic dialogue and allegorical storytelling dealing with political and philosophical issues.Kiarostami had a reputation for using child protagonists, for documentary-style narrative films, for stories that take place in rural villages, and for conversations that unfold inside cars, using stationary mounted cameras. He is also known for his use of Persian poetry in the dialogue, titles, and themes of his films. Kiarostami's films contain a notable degree of ambiguity, an unusual mixture of simplicity and complexity, and often a mix of fictional and documentary elements. The concepts of change and continuity, in addition to the themes of life and death, play a major role in Kiarostami's works. more…

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Submitted on August 05, 2018

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