Through the Olive Trees

An incredibly fascinating web of self-reference. On one level, it's a comic look at the process of filmmaking. On another, it's about people coping with a tragic disaster. And on yet another, it's the story of a sweet courtship. And what makes it work is that none of these things are overplayed. They come together seamlessly in a cloud of cinema. As with any Kiarostami film, it's slow going and I admit there were times when it tried my patience but overall it was really worth it.

I consider the three films that make the ‘Koker Trilogy' as a single body of work and thus give them the same rating. Behind the scenes of ‘A Life Goes On'; Kiarostami adds a final, ingenious, layer to his epic. This time through the story of the persistent efforts of a young man (Hossein) to woo a young woman (Tahere) into marriage. Film is used as both a catalyst by Hossein to realise his union in reality with Tahereh, and also as a surrogate for a reality that might not materialise.

Koş be Hüseyin, koşmayanlar utansın.

Hossein is the ultimate incel

The self referential 'meta' aspects are better executed than most films about a 'film-within-a-film', and the connections it makes to previous Kiarostami works provide new pathways for reflection and analysis. Moreover, it functions as both a consolidation of his directorial approach/style and as a criticism of it, suggesting that the medium is not really capable of capturing the true complexity and fullness of life but is nonetheless singular in its attempts to do so.

The stories of a boy searching his friend, of Kiarostami searching a boy, of man and woman, within communities equally searching, together, for hope, for safe passage, at first glance, seem different. To those living them, they are; despair, hope, love, sorrow - they speak to us in voices intimate and immediate. In reality, we partake in the same structures delivering us life, sharing paths trodden by wanderers past, as reincarnate spirits, wading and weaving through narratives of collective wri

It is not every day that you see a love scene shown in an extreme long shot: the final scene of this wonderful movie is both the most beautifully executed and the most romantic ending to a film I have ever seen!

Iranian Kiarostami is simply a master of composition. With his extremely long takes he plays with the audience's imagination through a very creative use of the offscreen space. The film offers a rare and truely charming view inside Iranian culture, and tells a story about love and marriage that must seem strange and hunting for most people in the western world. Definitely recommendable.

One of Kiarostami's best, Through the Olive Trees makes the best use of the "movie about making a movie" premise I've ever seen. Also, Kiarostami is at his best when his touch is the lightest, and here is a great example. Finally, the ending is a uniquely memorable cinematic achievement.

I loved Where is the Friend's House, but the more meta second and third offerings in the Koker trilogy have a lot less to offer for me. It's not bad, but I just don't totally get it. The final shot is excellent, though, and it's a beautiful movie.

Appreciate the composition and I normally love Kiarostami's works and style, but this movie was too slow for me. I struggled to connect with the story. Hussain was not a charismatic character to carry the story as it deserved.

O ne güzel finaldi be Abbas usta. Çiçek olduk çiçek :)

Kiarostami’s warm, touching work of meta fiction takes its time but is always pleasant, occasionally enchanting, with touches of subtle humour. The final act is lovely, building to a striking ending. Another strong work from one of the most original voices of recent world cinema. He is missed.

hayatın tam dibinden ve noluyoruz la film bitti mi kalkıp gidelim mi sorusunu sorduran abbas reyis filmi. islamic ismet özel sevenler derneği tayfasının filmin tüm karelerini yutuba 2. sınıf siirler icin arkaplan yapma sansı da veriyor ayrıca bu film. ortaya kadar dağınık olsa da hikaye tertemiz toplanıp bitmiş. Housein'in oyuncluğu da harbi temizdi. mekanın cennet olsun agha abbas.

Filmde müzik kullanımı şahikalarından o muhteşem final sahnesi.

que filme bonito

Yönetmenin oyuncu arayışını ve filmi çekiş öyküsünü anlatıyor. Koker üçlemesinin son filmiymiş. Mubi'de ikincisi olmadığı için izledim ama ikinciyi izlemeden izlemek biraz yordu. Deprem sonrası Koker köyünde gelen Film ekibi, oyuncu kadrosuna Hüseyin ve Tahire'yi seçmiştir. Hüseyin dik kafalı ve tahsil görmemiş bir genç olarak eğitim görmüş fakat ailesini depremde kaybetmiş Tahire ile evlenmek istemektedir fakat Tahire'den bir yanıt alamamaktadır.

I enjoyed this the least of the trilogy as I watched it and part 2 back-to-back, and the repetition was starting to lose its appeal. It's like Day for Night; it shows the behind-the-scenes drama from filming the second movie. Still beautiful and haunting, even though it has fewer zig-zag roads than the others.

One of the best final shots there is. Kiarostami nails the meta-making-a-movie plot while incorporating a believable romance. A fitting conclusion to his masterful trilogy.

A masterpiece. The self-referential elements, along with the blurred lines between fact and fiction, are typically Kiarostami. What works here so brilliantly in this framework is the comic, lighter tone of the piece, along with the formally rigorous and emotionally urgent second half of the film. This builds to a climax that strikes me as just about perfect.

Accidentally watched this one first. Is there a mind that wants to examine what it means to create cinema and the use of cinema through time more than Kiarostami? Maybe Godard? Don't matter they're the two best to ever do this I'd reckon

Kiarostami the GOAT

Third film in Kiarostami's Koker trilogy and another testament that he can create a masterwork out of a road, a bunch of trees, and a small community of kids and adults. There are negative comments on the slow pace but to speed things up here as well as in some other Kiarostami's films is to trivialize the human experience he's portraying. That's why the almost 4-minute shot at the end is so unique.

Siste del i Kiarostamis trilogi som startet med Where is the Friend's House og fortsatte med And Life Goes On. Her trekker han metaaspektet lengre og vi følger regissøren av en film som omhandler et bryllup vi ser sporene av i den andre filmen. Flere av skuespillerne fra den første (som gir seg ut for å være en ren fiktiv film) og den andre filmen dukker opp, tilsynelatende som seg selv. Siste scene er helt magisk, og noen av de gjentakende motivene er svært sterke.

For any other budding film-makers out there, this is an essential "film about film-making" film to see -- it just comes across as so unique and delightful. The problem is the character of Hossein and his tedious and uncharismatic romantic pursuit, which didn't strike me as spectacular.

79.500

#593

Lifeless, stolid and pretentious. Nicely framed, though.

545

Slow but touching. If you haven't seen the two preceding films it's referencing it probably loses a bit of the impact but is still worthwhile as a unique look into how filmmaking and cultural norms mesh together in an Iranian village. If you have seen the preceding films you also get a very interesting meta narrative as well as an examination of how perception can change the meaning of an action, or in this case a movie scene.

534

# 445

One of the most boring and pointless films ever produced

Kiarostami's inventiveness results in one of the best and most unusual "sequels" in cinema history.