A Death That Is Hard to Believe

Iranian cinema will never forget July 5, 2016. On that day, news of the death of Abbas Kiarostami, its most important and influential filmmaker, was unexpectedly published in the late hours, marking the loss of not only one of its most significant awards but also one of its brightest icons. For Iranian cinema, Abbas Kiarostami was a unique name. He paved the way for international success at a time when his life in Iran seemed threatened, establishing an era in which this cinema, alongside war and politics, reminded the world of Iran's name. The image of a child running along a winding rural path remained a reminder of Iran for years. This image also sparked extensive discussions and cultural debates over the reasons behind the international successes of Iranian cinema in recent decades. Before the successes of Asghar Farhadi, Abbas Kiarostami was the undisputed titleholder of global filmmaker for Iranian cinema. He had followers and admirers worldwide who, influenced by his films, sought to narrate the simple flow of life. The impact of his films and filmmaking style was not limited to Iran; his traces could be seen in many diverse and unconventional works from countries like Turkey, Japan, and even the United States. Few insightful critics analyzed David Lynch's 'Mulholland Drive' without recalling Kiarostami's films. Kiarostami was a storyteller of one of the truest images of life and one of its main admirers. He sought traces of life even in the most horrific events, and it was no coincidence that he always spoke of the necessity of living and surviving in his conversations. Kiarostami's uniqueness was not limited to the seventh art. The title 'artist' suited him entirely. He seriously engaged in graphic design, poetry, painting, installation, and design, and in his later years, he made continuous efforts to combine them in his works. He tirelessly sought to eliminate tools and individuals in the process of creating his works and reached daring boundaries of artistic creation. The experience of watching some of his films became a subject for an artistic work in itself. Abbas Kiarostami had a complex relationship with the Iranian government and its opponents during his creative journey. His global successes were initially met with skepticism by some. Some extracted specific concepts and metaphors from the children and simple characters in his films, while others were unhappy with the cultural ambassador role of his films for a country that had issues with its government. This relationship gradually evolved in the following years with Kiarostami's established position. The presence of his films in foreign festivals became a governmental issue, even bringing the Foreign Minister into the discussions. Upon his return with the Palme d'Or, some sought to hold a gathering at the airport, and he was secretly taken home through the back door. Nonetheless, he tried to keep himself completely away from daily political events. Unlike many of his colleagues, he did not align himself with any specific camp and did not take a stance for or against any individual or movement, although he clearly belonged to the intellectual segment of Iranian culture. The non-screening of his last films pushed him further to the margins of Iranian cinema and made his positions more critical. In his later years, the apparent addition of a group of filmmakers supported by the government in opposing Kiarostami regarding some contemporary social and political events, such as the Iran-Iraq War, through verbal jabs and insinuations, even led him to provide explanations for his statements. His illness and death completed this complex relationship. Reports of mistakes during his treatment once again brought ministers into an incident related to him, and at a time when few expected his death, he passed away outside his homeland while the Academy Awards had sent him a membership invitation. The death of Abbas Kiarostami at the age of 76 is hard to believe. Iranian cinema will forever remember the creator of some of its most memorable works, and the world of cinema will not forget the loss of one of its most unconventional filmmakers in recent decades, marking July 2016 as a significant date.