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The Wind Will Carry Us

Videophiled Classic: ‘The Wind Will Carry Us’ at 15

WindCaryUsWe didn’t know it at the time but The Wind Will Carry Us (1999) was the end of a distinctive mode of cinematic engagement for Iran’s Abbas Kiarostami. He had won the Palm d’or at Cannes in 1997 for A Taste of Cherry and had become the figurehead for Iranian cinema for his unusual mix of fiction and documentary and gently self-reflexive filmmaking. After The Wind Will Carry Us, however, he entered into a period of documentary and experimentation that lasted a decade until Certified Copy.

The Wind Will Carry Us: 15th Anniversary Edition (Cohen, Blu-ray, DVD) revives this landmark film with a newly remastered edition and a Blu-ray debut. Like his previous films, he mixes professionals with amateurs and draws character from his location, here a remote village in the mountains where a TV crew arrives to film a funeral ceremony of a dying woman. A three day trip stretches into two weeks as the old woman begins to recover and the filmmaker (Behzad Dourani, the only professional actor in the cast) gets anxious as he’s eaten away by twin impulses: his wish for the old woman’s recovery and the mercenary hope for her speedy death so he can complete his project.

Kairostami’s rigorous style has always been sensitive to the rhythms of people and the details of day to day existence, and like his best films The Wind Will Carry Us unfolds with a remarkable fidelity to (or a convincing facsimile of) real time. What may be surprising to fans of his films is the dry humor that permeates the picture. To Western eyes the pace may seem glacial, yet it’s the very embrace of the time it takes to walk through the village or scramble up a hillside “short cut” that allows Kiarostami to explore the spaces between the words and the landscape that envelopes his characters’ lives. The culmination of such astounding visions is a celebration of the human spirit is nothing short of sublime. (If that final sentence looks familiar, it might be because it’s quoted on the back of the disc case from my original 2000 review in the Seattle Post-Intelligencer; I was inspired to revive it from this review.)

Features newly-recorded commentary by film critic Jonathan Rosenbaum and Iranian scholar Mehrnaz Saeed-Vafa, a 90-minute Q&A with director Abbas Kiarostami hosted and moderated by New York Film Festival director Richard Peña at the University of Indiana and a booklet with an essay be Peter Tonguette.

More classics and cult on Blu-ray and DVD at Cinephiled

New Yorker Essentials – DVDs for the Week

As the shock of New Yorker’s announcement sinks in, so does the complicated legacy of New Yorker. In conversations with friends and colleagues who programmed college campus films series and commercial repertory calendars (back when such things were a vital part of a metropolitan city cinema landscape), we all recalled the high prices of New Yorker film rentals and the deplorable condition of much of its print library. In my days as a video store manager, I sweated the premium prices of New Yorker videotapes, titles that would be lucky to break even, and they dragged their feet when it came to price reductions (many of which I wound up reviewing for Amazon.com during the early days of its home video launch). As a viewer I was often frustrated by the image interference caused by the heavy Macrovision copy protection. When it came to DVD, the quality was always fine, but never showed the crispness of Criterion restorations and digital mastering.

New Yorker Films' first release
New Yorker Films’ first release

Yet for all those gripes, New Yorker was essential to the richness of cinema culture in my time. It kept alive the canons of Bertolucci, Fassbinder, Godard, Herzog, but in addition to its commitment to the European canon, it brought to light filmmakers from neglected corners of the cinematic culture, in particular Africa, South America and Iran. Would the films of Ousmane Sembene be accessible to American audiences if not for New Yorker? Would the films of South America’s Cinema Novo movement have been “discovered” with them?

Just contrast New Yorker with Miramax. Back in their Miramax days, the Weinstein Bros. showed cagey instincts when it came to sifting through imports for that sexy title that they could sell with their own inimitable mix of art cinema ballyhoo and cultural cache. They outbid everyone else to secure those films in which they saw potential and sunk money into striking good prints with strong, readable subtitles, and into promoting their films. And at times they brought in the scissors to trim down their imports. They combined the arrogance of an old-time studio boss with the promotional savvy of a William Castle or a Kroger Babb, only with a touch of class.

New Yorker never had those promotional instincts and certainly never had the capital to compete with Miramax and the boutique divisions of the major studios that flowered in the wake of Miramax’s success. But then it never occurred to Dan Talbot and the New Yorker crew to edit down the films they imported. Miramax made foreign filmgoing special. New Yorker was about special foreign films and filmmakers. It was, in many ways, up to the audiences to find them.

Most of those studio indie/art film divisions have since been shut down or absorbed back into their parent companies, and the Weinsteins are still looking for a signature acquisition to re-establish themselves outside of Miramax (which is doing just fine in its more modest, post-Weinstein incarnation). On the home video side, we’ve seen  specialty labels like Tartan Films and NoShame close up and others struggle to continue.

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