Cinematic Style of Abbas Kiarostami - Spirituality

Spirituality

Kiarostami's complex sound-images and philosophical approach have caused frequent comparisons with mystical filmmakers such as Andrei Tarkovsky and Robert Bresson. Irrespective of substantial cultural differences, much of western writing about Kiarostami positions him as the Iranian equivalent of such directors, by virtue of universal austere, spiritual poetics and moral commitment. Some draw parallels between certain imagery in Kiarostami's films with that of Sufi concepts.

Kiarostami's films often reflect upon immaterial concepts such as the soul and afterlife. At times, however, the very concept of the spiritual seems to be contradicted by the medium itself, given that it has no inherent means to confer the metaphysical. Some film theorists have argued that The Wind Will Carry Us provides a template by which a filmmaker can communicate metaphysical reality. The limits of the frame and the representation through dialogue with another that is not represented, physically become metaphors for the relationship between this world and those that may exist apart from it. By limiting the space of the mise en scène, Kiarostami expands the space of the art.

Asked in a 2000 Film Comment interview if there are any other directors who might be working on a "similar wavelength", Kiarostami pointed to Hou Hsiao-hsien as one. He said,

"Tarkovsky's works separate me completely from physical life, and are the most spiritual films I have seen — what Fellini did in parts of his movies, bringing dream life into film, he does as well. Theo Angelopoulos' movies also find this type of spirituality at certain moments. In general, I think movies and art should take us away from daily life, should take us to another state, even though daily life is where this flight is launched from."

Differing viewpoints have arisen in this debate. While the vast majority of English-language writers, such as David Sterritt and Spanish film professor Alberto Elena, interpret these films as spiritual films, critics including David Walsh and Hamish Ford disagree.