Kiarostami on making of five

Kiarostami is integrated in his philosophical attitude toward nature and he facilitate this in technicality of his cinematography. This is not something you can grasp from the film it self but it's his secret codes that he reveals in an interview like this. Here he is explaining how he give control to coincidence in his  and how he consciously consider a role for chance. This narrative that resulted in final film add a lot more value to his film.

Improvisation is core element in Persian music. Here Keyhan Kalhor is explaining 'what you play change when you change'. His music is fundamentally influential for me.

This painting is by Sohrab Speheri. I'm interested in Sepehri's poetry, although his paintings illustrate his poetry both in terms of subject matter and style. His poems are light hearted and induce Buddhist ideas, mysticism and western taraditions. He mingled the Western concepts with Eastern ones to create his poetry. I used to read them as a teenager. I can follow my interest from him to Kiarostami's film. Story happen in setting of a village in major works of both of them although Kiarostami address more philosophical meanings whereas Sepehri leave us with a nostalgic and child like pleasure. Yet we see tree as a bold part of image in Kiarostami setting as well as his photographs. He make a road on top of a flat hill and locate a tree there in one of his films.

The Tenants

here in another film of Mehrjooi we see one of the characters singing to his flowers and trees and talking to them in order to preserve them.

Kodirsar cemetery

This is considered holly tree. It is located in a village in the middle of a cemetery in north of Iran. That's my friend who is making a wish by binding a piece of fabric to the tree. There is so much meaning attach to this tree.

The Pear Tree

Here we see section of the film where people living in the village are talking to a tree that hasn't had fruIt like other trees of the garden. I'm interested in such intimate relationship of people with nature when it's rooted in their rituals.

I am interested in minutes 27 of the video where Liam is saying he wants dancers to keep the realism so that  the audience forget steps. "people should get so lost in what they see that they shouldn't see steps, it's ballet but it should cross every boundary that there is. it should transcendent to a completely different genre" I'm interested in taking singular rhythmic elements (from sound and movement) into an immersive whole to the point where basic elements are forgotten.

swan

The relationship of swan and dancers fascinate me. Although the final result is not aesthetically pleasing perhaps because of choreography. However lack of it has resulted in more poetry and natural feeling of the piece.