A Moment of Innocence (1996) | dir. Mohsen Makhmalbaf
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Gabbeh
Directed by Mohsen Makhmalbaf
1996
Iran
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[ID: 3 gifs from the 1996 film "Gabbeh". It shows Gabbeh, a young woman, dressed in light blue clothes with gold details. the dress includes a headscarf in the same colour, with a dark blue headband. she looks at someone offscreen. that person's hands are resting upon her shoulders. she takes both hands, brings them together and then leads them to her cheek. she softly pats these hands. she bears a soft and loving expression. /end ID]
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گبه Gabbeh (1996), dir. Mohsen Makhmalbaf
Shaghayeh Djodat as Gabbeh
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Gabbeh, Mohsen Makhmalbaf, 1996
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A Moment of Innocence (1996)
Mohsen Makhmalbaf
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Salaam Cinema, Mohsen Makhmalbaf, 1995
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“I want to save mankind.”
“What does that mean?”
“I want to save poor people, oppressed people. Whichever way I can. I don't care how.”
A Moment of Innocence, 1996. Dir. Mohsen Makhmalbaf.
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Mohsen Makhmalbaf and Hossain Sabzian in Close-up (Abbas Kiarostami, 1990)
Cast: Hossain Sabzian, Mohsen Makhmalbaf, Abolfazl Ahankhah, Mehrdad Ahankhah, Monoochehr Ahankhah, Mahrokh Ahankhah, Nayer Mohseni Zonoozi, Hassan Farazmand; Haj Ali Reza Ahmadi. Screenplay: Abbas Kiarostami. Cinematography: Ali Reza Zarrindast. Film editing: Abbas Kiarostami.
Like most movie-obsessed kids, I used to imagine myself as the star of my own movie, which happened to be my life. I never imagined myself as the director, but perhaps that's because I didn't know what a director did. Close-up struck a nerve with me, nevertheless, with its eloquent presentation of the entanglement of life and art: It's a documentary about the trial of an unemployed Iranian man whose daydreams about making movies led him to pose as the celebrated director Mohsen Makhmalbaf and to persuade a wealthy family that he was going to use their house as a set and star them in a film. But the remarkable thing about Close-up is that its director, Abbas Kiarostami, then persuaded the Ahankhah family, as well as Hossain Sabzian, the con man, to re-enact the events leading up to the trial. Sabzian and the Ahankhahs -- and the journalist Hassan Farazmand; the judge in the trial, Haj Ali Reza Ahmadi; and Makhmalbaf himself -- appear in the dramatized scenes, proving more than capable actors in playing themselves and creating a simulacrum of the real thing. Kiarostami's film is full of head-spinning tricks of this sort, including a taxi driver who says that he doesn't go to the movies because he's too busy with real life. In the end, when Sabzian is released from prison, he meets with the actual Makhmalbaf. Kiarostami was so touched by the encounter of the two men that after shooting the sequence he decided to fake "microphone problems" so as not to intrude upon their privacy. I don't know of any film that more profoundly demonstrates the way movies, an art form created for and by the masses, have intertwined themselves with our lives. That it should have come from Iran, a country so mysterious to the Americans who pride themselves on having created the motion picture industry, is deeply ironic.
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Gabbeh, Mohsen Makhmalbaf, 1996
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