The Wind Will Carry Us

I wanted to love this, I really did. However it's just so slow and repetitive that I couldn't. I appreciate that this style reflects the main characters' wait for the old woman to die but by the third time our hero was climbing up the hill yelling "allo?!" into the phone I was just simply tired of the film. Great cinematography and highly intellectual but it simply failed to make me want to watch it.

We are aberrations in the wind. Kiarostami said Ozu was his greatest inspiration. I am grateful to be living a life that has introduced me to them both.

Certainly a hypnotic film, one that may near put me to sleep as I can't feel the weight of it and I can't see anything behind the visual style. There was no hook for me to grasp, I felt like this film was just going through the arthouse motions -- beautiful cinematography, poetry reciting, simple-minded ponderings on life, objects going through paths as visual metaphors, bad acting from non-actors.

Nothing happens

Scenes and situations are allowed to breathe without wearing out their welcome. There are some beautiful shots throughout, and plenty of thoughtful material to ponder. Very much my kind of flick.

Each Kiarostami film has a distinct rhythm. In this case, he toys with the routine of country life as it's impeded upon by the complications of the urban world. Through his signature conversational style, he dwells on the contrast between the folksy pleasantries of the villagers and the angry, hurried tone of the city-dwellers, but beyond cursory observations about modernization, the film shares gentle insights into the intricacies of human communication and the struggle to connect.

No Shakespearean dramatic structures in this movie. Only beautifully open loops of expression that resonate together in a highly poetic and delicate manner (pretentious I know, but that's just me). I found it a lovely & intimate meditation on tradition and modernity. Eternity expressing itself in small passing moments in the present. Broader & even more open than Taste Of Cherry but just as affective. Also one of the prettiest films I've seen in a long while. A breath of fresh air in many ways.

enormously complex film, revolving around a transition from urban to rural life. there are so many small details, it's quite amazing to think about. difficult to sum up.

I can appreciate it and respect it, but I didn't like it.

Death hangs over this film as it focuses on the central mystery of the life of "The Engineer" and his purpose for being in a small rural village. Kiarostami is content to leave that a mystery for almost the duration of the film, realizing that other mysteries--such as what is said Engineer really doing with his life--are more worthy of reflection. The images here are simply exquisite, and the poetry--both verbal and visual--add a layer of true profundity to the proceedings. I love this film.

Kiarostami masterpiece that builds to a remarkable conclusion.

Typically well shot and thought provoking kiarostami

Often beautiful, but a lot of the time (with a few exceptions) Kiarostami just doesn't impact me like he does others.

Quiet and thoughtful with some rich, poetic ideas on the rural/urban clash and a lot of wry comedy. Also the cinema was evacuated ten minutes in and it turned out to be because someone’s phone caught fire in another screen. I wonder what the Venn diagram of people who would go to see In The Mood for Love at the BFI and people who still own a Galaxy Note 7 would look like.

Mükemmel. Ömer Hayyam ve Füruğ Ferruhzad'ın şiirlerinden ilhamla bir film çekeceksen böyle olacak. Ne var ki, daha doğrusu tabiatıyla mesajı yanlış. Kiyarüstemi'nin sanatkarlığını kötüye kullandığı filmlerinden biri daha.

görsel olarka harika ancak hikaye olarak zayıf cok kuvvetli degildi. filmin ekmegini abbas reyisten cok NBC yemis neredeyse hahaha. ilkokul 3ten beri TRT'de denk gelen filmi bugun tamamlamak nasip oldu.

A beautifully enigmatic and humorously relaxed film from Kiarostami that features absolutely stunning photography of the surrounding land.

Kinda regret using up those Wendell Berry bucket lines on Les Blank's JULIE...

Há exatos 20 anos estreava no Festival de Veneza, onde ganhou o Grande Prêmio do Júri. Como todo filme do Kiarostami, ele pega um colorido local transitando pela linguagem universal, no caso bem amparada pela poesia recitativa e visual e já vislumbrando um tipo de incomunicabilidade central do século XXI: a proximidade das pessoas pelo uso do celular onde quer que estejamos, ao mesmo tempo que um certo malabarismo para exercer tal contato. Plus: Forough Farrokhzad. Box Obras-primas do Cinem

A narratively basic film that resonates with profound themes and avoids typical filmmaking conventions, evoking scenes of serene beauty and strangely light-hearted feelings despite the connotations of life and death. An unorthodox film where not much happens but many things are imminent, pushing an interesting dichotomy between the speedy needs of the engineer and the slow, milquetoast lifestyle of the people in the village. Certainly amog Kiarostami's best, especially in terms of visual flair.

watched: 2018, 2020

My favourite parts of the film were Behzad's motorcycle rides with the doctor; short-lived scenes which in their brevity conveyed more truths and insights than most films do over their entire length. Unfortunately, the majority of the film left me with too much ambiguity for me to understand what happened exactly or why. Kiarostami light, if that's even a thing.

When you think 'nothing happens' in this life, so many things happen. Very lyrical, subtle story and so many symbols to show the value of life. Really appreciated Kiarostami's genius. However it's definitely not for every moviegoers.

Maybe a little too wilfully obscure in its plotting (which worked in Cherry, but is a bit frustrating here), and a little indulgent lengthwise, but it's very lovely, and Dourani is charismatic and fun to watch interacting with the villagers.

85.000

A strong drama movie of a citiman trying his best to be as near to villagers as he can. Significance of mobile signal hut, a leg bone he finds is shown very nicely.

its beautiful, methodical and very kiarostam-y. didnt quite have that punch to it that would elevate it to a masterpiece. definitely enjoyable, nevertheless. could have lost half an hour. fine piece of film-making with some exquisitely crafted scenes such as the shaving scene, opening scene and the amazing motorbike scene with the doctor.

A subtle, almost elusively so, celebration of life. In one of the last few scenes a character explains to Bezhad, "We don't want to let go of this life because we know how beautiful this world is. No one has come back from the other side and proved that it is better there." This is poignant, not least of all because of how beautifully Kiarostami has shown the world to be throughout the film. Also a celebration of nature, as well as being about a cultural divide in Iran - the old and the new.

#698

Subtle almost to the point of transparency, this is nonetheless a movie that evokes the kinds of strong emotions about the nature of living ordinarily reserved for films ostensibly grander in scope.

Even though there's always something going on there's a restlessness to the film that translated to me as the viewer, leading my mind to wander from time to time. Even so it's an interesting meditation on rural life and a few of the repeated ideas, most notable that damn cellphone, were quite effective. Kiarostami does a lot of little things well but doesn't fully tie it all together.

Less a narrative film but about characters being left to their own devices, leading to thoughts about old traditions against the new, and contemplations of life and death, that are both life affirming but can also be read as being a lot more murkier depending on how you view the characters' behaviour. It is not for everyone, but the film's greatest virtue is that for a minimalistic film, it is far more accessible in tone and nature to other minimalist works.

Themes of life and death are revisited here, not precisely the same as in A Taste of Cherry, but still begging comparison. Wind is a beautiful film in more than one way, but I believe Cherry was more elegant; it was more straightforward but also had a more delicate touch for the most part. People ascribe the adjective "subtle" to this. It is subtle, but sometimes the subtlety itself seems forced, as if the meaning hidden behind it is restless, beating its fists against the film's opaque surface.

723

Beautiful landscapes. Boring plot.

770

I've grown to appreciate Kiarostami (even his earliest efforts), but this one just does not click with me.

# 720