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Cineclube Grupo Estaçãoecontracampo 1970 Nan va Koutcheh "Quando fiz o filme, achava que era diferente 1972 Zang-e Tafrih de tudo que eu tinha feito antes. Depois, achei 1973 Tadjrebeh que parecia muito com Close Up. Tudo acontece relacionado à realidade, mas trata-se 1974 Viajante (Mossafer) de uma realidade compleamente apresenta 1975 Man ham Mitoumam transformada. Em Close Up, todos os Dow Rahehal Baraye yek Massaleh personagens nasceram do que acontecia. Em sessão 1976 As Cores (Rangha) Dez, nós preparamos tudo, escolhemos cada Um Terno para o Casamento (Lebassi pessoa uma a uma, e organizamos todas as cineclube Baraye Arossi) relações instaladas no filme." 1977 O Relatório (Gozaresh) Bozorgdasht-e mo'Allem "A câmera digital permite que nos Az Oghat-e Faraghat-e Khod Chegouneh distanciemos da tecnologia e da indústria do Estefadeh Konim? cinema. Quando trabalhamos com os 1978 Rah Hal-e Yek capitalistas, com aqueles que disponibilizam o dinheiro, temos limitações, precisamos prestar 1979 Ghazieh-e Shekl-e Aval, Ghazieh-e Shekl-e Dou Wom contas. Isso acabou. O cinema não precisa de tantos instrumentos. Agora são os cineastas 1980 Behdasht-e Dandan que estão sob as limitações dos instrumentos 16 de Junho de 2004 - Ano II – Edição nº 55 1981 Be Tartib ya Bedoun-e Tartib do cinema, eles devem utilizá-los de uma 1982 Hamsarayan forma ou de outra." 1983 Hamshahri Dandan Dard "É justamente o happening da coisa, não é 1984 Avaliha fabricado. É como se fôssemos pescar, num 1987 Onde Fica a Casa de Meu Amigo? breu total. Eu lanço o anzol e felizmente (Khane-ye Doust Kodjast?) acontece alguma coisa. Não se pode controlar as palavras, às vezes elas ultrapassam nossos 1989 Lição de Casa (Mashgh-e Shab) desejos, nossas vontades, e às vezes não é o ) 1990 Close-up (Nema-ye Nazdik) que esperávamos, mas não há o que fazer, é o - 1991 Vida e Nada Mais (E a Vida Continua...) A que acontece." 0 I (Zendegi va Digar Hich) 4 9 1994 Através das Oliveiras (Zire Darakhatan F 1 ( Zeyton) Abbas Kiarostami i A 1995 Lumière e Cia (Lumière et Compagnie) S m À propos de Nice, la suite (episódio a R E t "Repérages") s G 1997 O Gosto da Cereja (Ta'm e Guilass) o Õ r 1999 O Vento nos Levará (Bad ma ra Khahad O a Ç i Bord) K 2001 ABC África (ABC Africa) A M s 2002 Dez (Ten) a T L b 2003 Five I I b 2004 10 on Ten C F A sessão cineclube próxima sessão DEZ Mediação do Debate: 23/jun 24 HORAS DE SONHO de Abbas Kiarostami Eduardo Valente e Ruy Gardnier. de Chianca de Garcia Programação e Produção: Ten: dez sequênicas na vida emocional de seis Ten – França/Irã/EUA, 2002, cor, 92' Grupo Estação e Contracampo. Direção, Roteiro e Fotografia: Abbas Kiarostami mulheres e os desafios com que elas se deparam num Montagem: Vahid Ghazi, Abbas Kiarostami e momento particular de suas vidas. Dez episódios que Bahman Kiarostami se passam em dias diferentes, mas sempre no carro de Trilha Sonora Original: Howard Blake Produção: Marin Karmitz e Abbas Kiarostami uma jovem mulher. Divorciada e recém-casada com A C Elenco: Mania Akbari (motorista), Amin Maher outro homem, ela tem um filho do primeiro I realização colaboração N (Amin), Kamran Adl, Roya Arabashi, Roya casamento, que, no entanto, não cansa de culpá-la C Arabshahi, Amene Moradi, Mandana Sharbaf, É E por não agir dentro do código moral do Irã. Além de T Katayoun Taleidzadeh. S P seu filho, ela dá carona a várias mulheres, uma A O H N prostitura, uma jovem apaixonada, uma senhora, C I I S criando um sensível retrato da feminialidade no Irã. F www.estacaovirtual.com www.contracampo.com.br 10. Quando do lançamento de Dez, alguns fãs de Abbas Kiarostami olharam jazz moderno se tornou muito mais difícil quando se conseguiu desconfiados. O que bem seria este filme? Onde estavam afinal as belas imagens, os pela primeira vez afirmar seu público. Com um circuito de jazz planos abertos que marcavam o trabalho anterior do cineasta? Elas não estão em Dez. pela primeira vez formado, os músicos se viram diante de um Como também não está a paisagem rural do Irã que nos acostumamos a ver em seus público que ansiava pela mesma meia dúzia de standards a ser filmes anteriores. Trata-se também de um filme urbano, com foco e ponto de vista repetidos à exaustão. O universo do cinema de autor, desde que centrado na classe média iraniana. Uma ruptura na obra do cineasta? Ao contrario. venceu a batalha e se estabeleceu (e por conseqüência foi Dez é um avanço natural, um passo dentro de um caminho que o cineasta vem absorvido pelo mercado), vive um impasse similar. Dez é um dos traçando em seus filmes. primeiros filmes sobre este impasse feito de dentro. 9. Abbas Kiarostami é um cineasta que mantém o meio em constante fluxo. A cada 4. Como já mencionado antes tudo aquilo que num primeiro filme há a necessidade de chegar à imagem/abordagem mais justa. Daí seus filmes momento associamos a Abbas Kiarostami desaparece em Dez. O desconcertarem num primeiro momento. Neste sentido, sua mudança para o digital que o cineasta faz aqui, de certa forma, é explicitar como a maior parece nos colocar diante de um problema de percepção. Se ABC África ainda podia parte daquilo que temos como cinema de autor não passa de uma ser justificado como filme humanista, isso parece mais difícil de ser feito aqui já que, superfície atraente. “Kiarostami” desaparece, mas o filme não apesar do tema politicamente correto, Dez parece por demais incompleto quando deixa de ser a essência destilada de Kiarostami. Orson Welles visto como editorial sobre a situação da mulher no Irã. fizera algo similar no seu Verdades e Mentiras, que não surpreendentemente foi acusado já naquela época de não ser um 8. Numa simplificação grosseira, pode-se dizer que o que atraiu Kiarostami no digital filme de Orson Welles devido a falta de imagens de Orson Welles. é que ele torna o processo de filmagem mais simples. O formato permite que se Mas o que diabo seria uma imagem de Orson Welles? Porque nós elimine todo o aparato cinematográfico costumeiro. Kiarostami, assim, pode cinéfilos sempre acreditamos ter o poder de saber o que é melhor permanecer mais próximo do que ele transformará em imagem. Pode parecer bobo para os nossos autores favoritos? É preciso, Kiarostami nos de tão simples – e recentemente em Cannes houve cínicos que ridicularizaram seu demonstra, implodir o autor, para lhe devolver a importância. documentário sobre a realização do filme, 10 on Ten, por defender idéias tão óbvias –, mas isto está longe de parecer simples para um cineasta como Kiarostami. Seus 3. Dez certamente tem “imagens de Kiarostami”. Ao menos se por filmes são assombrados por todas as questões éticas/morais que este ato, a princípio esta expressão temos imagens que se preocupam com o que elas muito simples, que é transformar algo numa imagem, levanta. Basta lembrar da representam. O que é esta imagem?, Kiarostami parece sempre equipe de a esperar que uma senhora de 100 anos morra para então poder registrá- perguntar. Já se definiu mise-en-scène como todos os recursos la. O cinema capta a morte em progresso, escreveu certa vez Jean Cocteau. É algo que um diretor tem para expressar sua relação para com seu muito sério. objeto. Com Dez, o cineasta se coloca numa posição em que estes ? recursos se tornam limitados. A função de diretor parece se tornar 7. Captar uma imagem, portanto, é algo que termina por revelar um certo poder. muito mais a do promotor de uma situação (que posteriormente Relações de poder estão no cerne de qualquer filme, por mais que para muitos M vai poder organizar na sala de montagem). Só que, ao mesmo diretores isso seja uma questão que nunca se manifesta. Em Kiarostami ela está em tempo, poucos filmes parecem mais preocupados com esta E cada fotograma, em cada opção sua como diretor. Ter resolvido filmar alguém num relação. No carro de Dez não estão em jogo somente as relações determinado espaço já revela o poder que ele e sua câmera possuem sobre esta G daquelas personagens, mas também as do diretor com a sua pessoa e/ou espaço. Se nos filmes de Makhmalbaf (para ficarmos no outro grande câmera, com seus atores e com as imagens que eles produzem A veterano do cinema iraniano) esta posição de poder patriarcal do diretor nunca chega juntos. Filme-impasse, mas também um filme-processo a constituir um problema, para Kiarostami ela será sempre uma questão, extremamente preocupado consigo próprio. Mas Kiarostami sabe M independente da figura do diretor ser mais (Através das Oliveiras) ou menos (O que se um cineasta não pode também correr o risco de se fechar I Vento nos Levará) benigna. Abbas Kiarostami descreveu Dez como um filme sem em si mesmo. O filme anda nesta corda bamba, mas nunca cai. diretor. Paradoxalmente, quanto mais sem diretor Dez se revela, mais ele se afirma A como um filme de Kiarostami. 2. Hoje, com a crítica se apaixonando novamente por uma idéia romanceada de documentário, Dez é essencial. Como Close-Up, T 6. É justamente por colocar suas preocupações com o poder da figura do diretor que Kiarostami acaba com a linha tênue documental/ficção. Todo filme Abbas Kiarostami termina por abrir espaço para que o seu lado político aflore. Há S é afinal representação: os atores não-profissionais interpretam diversas formas de poder se relacionando aqui. Não é à toa que a motorista (Mena E versões de si mesmos (à exceção da prostituta, já que o cineasta Akabari) se veja às vezes por cima, às vezes por baixo nas relações que trava com seus o não conseguiu convencer nenhuma a atuar no filme), as conversas d passageiros.
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