Flick Review < The Wind Will Carry Us | Abbas Kiarostami, 1999

The Wind Will Carry Us, 1999

Director Abbas Kiarostami
Writer Abbas Kiarostami
Cinematography Mahmoud Kalari
Editing Abbas Kiarostami
Music Peyman Yazdanian
Stars Behzad Dorani, Noghre Asadi, Roushan Karam Elmi 

In my night, so brief, alas
The wind is about to meet the leaves.
My night so brief is filled with devastating anguish
Hark! Do you hear the whisper of the shadows?
This happiness feels foreign to me.
I am accustomed to despair.
Hark! Do you hear the whisper of the shadows?
There, in the night, something is happening
The moon is red and anxious.
And, clinging to this roof
That could collapse at any moment,
The clouds, like a crowd of mourning women,
Await the birth of the rain.
One second, and then nothing.
Behind this window,
The night trembles
And the earth stops spinning.
Behind this window, a stranger
Worries about me and you.
You in your greenery,
Lay your hands – those burning memories –
On my loving hands.
And entrust your lips, replete with life’s warmth,
To the touch of my loving lips
The wind will carry us!
The wind will carry us!

Forough Farrokhzad, 1934-67

“With this type of movie, we as viewers can create things according to our own experiences—the things we don’t see, that aren’t visible. There are eleven people in this movie who are not visible. At the end you know you haven’t seen them, but you feel you know who they were and what they were about. I want to create the type of cinema that shows by not showing. This is very different from most movies nowadays, which are not literally pornographic but are in essence pornographic, because they show so much that they take away any possibility of imagining things for ourselves. My aim is to give the chance to create as much as possible in our minds, through creativity and imagination. I want to tap the hidden information that’s within yourself and that you probably didn’t even know existed inside you. 

We have a saying in Persian, when somebody is looking at something with real intensity: He had two eyes and he borrowed two more. Those two borrowed eyes are what I want to capture—the eyes that will be borrowed by the viewer to see what’s outside the scene he’s looking at. To see what is there and also what is not there.” 

1 comment:

Anonymous said...

αλίμονο, στη μικρή μου νύχτα
ο άνεμος έχει ραντεβού με τα κοιμισμένα δέντρα
αλίμονο, στη μικρή μου νύχτα
υπάρχει η αγωνία της καταστροφής

ακούς το σκοτάδι να ανατινάζεται;
κοιτώ την ευδαιμονία σαν ξένη,
ξένη εθισμένη στην απόγνωση

ακούς το σκοτάδι να ανατινάζεται;
κάτι διαπερνά τη νύχτα
ανήσυχο και κόκκινο το φεγγάρι

μπορείς να δεις;
η σκεπή μας τρέμει από τον φόνο της κατάρρευσης
και πάνω από αυτή
σαν πομπή από μοιρολογίστρες
μοιάζουν να περιμένουν τη στιγμή των δακρύων
μια στιγμή
και μετά τίποτα

μπορείς να ακούσεις;
η νύχτα ανατριχιάζει
πέρα από αυτό το παράθυρο
και οι άνεμοι παύουν
πέρα από αυτό το παράθυρο

κάτι άγνωστο παρατηρεί εσένα κι εμένα

πράσινος σαν την ψυχή των φύλλων
ακούμπα τα χέρια σου
μέσα στα δικά μου
και κράτα την φλεγόμενη ανάμνηση της αγάπης
πράσινος σαν την ψυχή των φύλλων
χάρισε τα χείλη σου
στα χάδια των δικών μου χειλιών
γεύσου τα σαν παλιό κρασί

εάν ξεχάσουμε
ο άνεμος, μια μέρα, θα μας σκορπίσει μακριά
ο άνεμος θα μας σκορπίσει μακριά

Bād mā rā khāhad bord / Forough Farrokhzad / 1934-67
μτφ Γιώργος Δομιανός


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