Abbas Kiarostami The Koker Trilogy

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The Evidence of Film&nbsp;is an essay by the French philosopher Jean-Luc Nancy, which offers a commentary on the Iranian director&rsquo;s work and reveals, using the example of his films, the ontological processes that determine the nature and philosophy of cinema.
The book is based on a text about Kiarostami written by Nancy back in 1994 for the compilation of the&nbsp;Cahiers du Cin&eacute;ma&nbsp;magazine, marking the centenary of cinema. Nancy&rsquo;s text explores the main themes in the director&rsquo;s practice: the relationship between man and woman, death and life, tradition and the modern world. Based on the material of Kiarostami&rsquo;s films, the philosopher seeks to arrive at general considerations regarding the essence of film as a medium that cannot be reduced to individual styles and personalities. On the contrary, Nancy seeks to grasp &ldquo;an affirmation of cinema&mdash;and, in a sense, an affirmation made by cinema itself.&rdquo; Entering into polemics with various thinkers, Nancy follows in the footsteps of film theorist Andr&eacute; Bazin and his view of cinema as an ontological art that represents being.
The Evidence of Film&nbsp;is the first book in the Garage Screen series of publications dedicated to film.
The book will be presented by Garage Screen curator Evgeny Gusyatinsky and film critic Inna Kushnareva, who wrote the introductory chapter for the publication.
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Book presentation: The Evidence of Film

Iranian cinema researcher Ekaterina Dolinina will trace how Iranian new wave filmmakers sought a balance between art and ideology in their works.
Since the advent of cinema in Iran in the early 1900s, it has had a troubled fate. The repertoire of the film industry, controlled by different countries at different times, included foreign films or productions traced over from Western analogues, forcing several generations of Iranian filmmakers to seek their own ways of developing the industry by balancing between the prohibitions of the Islamic clergy and the secular censorship of the Shah. Whereas before the Islamic Revolution Abbas Kiarostami&rsquo;s movies could be banned because of scenes featuring a female teacher wearing a hijab, after 1979 the situation turned completely opposite: taking into account the requirements of Sharia, it was no longer possible for a woman to appear onscreen with her head uncovered.
Ekaterina Dolinina will explain how, following the Islamic Revolution and against the background of the lengthy war with Iraq, directors of the Iranian new wave coped with total isolation and reinvented the national cinematic language.
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A lecture by Ekaterina Dolinina: Cinema after the Revolution: How Art and Ideology Reconciled in the Iranian Film Industry

Film critic Anton Dolin and Garage Screen film program curator Evgeny Gusyatinsky will present the new issue of&nbsp;Iskusstvo Kino (The Art of Cinema)&nbsp;magazine featuring a section dedicated to Abbas Kiarostami.
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Presentation of the new issue of Iskusstvo Kino (The Art of Cinema) magazine

Film critic Zara Abdullayeva will talk about the flickering dialogue between feature and documentary film in the work of Abbas Kiarostami.
Abbas Kiarostami confuses the viewer by shooting half-documentary half-feature films. In fact, the Iranian director problematizes this opposition by rejecting the preference of one method over the other. The addiction to making films in films is both Kiarostami&rsquo;s mania and optics, allowing him to capture the &ldquo;real&rdquo; reality eluding our gaze.
It is cinema that becomes a way of identifying its characters, which the repressive Iranian reality does not imply. Kiarostami creates an ambiguous, double cinematic reality&mdash;conditionally documentary and unconditionally fictional. A dialogue between the visible and the unseen, the reconstruction of events and pseudo-reportage, between copy and the original is permanently maintained (or rather, flickers) in his pictures.
Along with football, cinema in Iran is almost sacred. Kiarostami&rsquo;s cinematography tests this circumstance through experimentations with form, narrative, and image.
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A lecture by Zara Abdullaeva: Abbas Kiarostami. Intermediate Cinema

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