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Close-Up 1990 123movies

Close-Up 1990 123movies

May. 09, 199098 Min.
Your rating: 0
7 1 vote

Synopsis

Watch: کلوزآپ ، نمای نزدیک 1990 123movies, Full Movie Online – Pretending to be Mohsen Makhmalbaf making his next movie, Hossain Sabzian enters the home of a well-to-do family in Tehran, promising it a prominent part in his next movie. The actual people involved in the incident re-enact the actual events, followed by the footage from the actual trial that took place..
Plot: This fiction-documentary hybrid uses a sensational real-life event—the arrest of a young man on charges that he fraudulently impersonated the well-known filmmaker Mohsen Makhmalbaf—as the basis for a stunning, multilayered investigation into movies, identity, artistic creation, and existence, in which the real people from the case play themselves.
Smart Tags: #trial #mockumentary #impersonation #filmmaking #postmodern #docudrama #close_up #courtroom #filmmaker #artistic_creation #minimalism #slow_cinema #sunglasses #reporter #flowers #printing_press #aerosol #long_take #avant_garde #soldier #motorcycle


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Ratings:

8.2/10 Votes: 20,104
88% | RottenTomatoes
N/A | MetaCritic
N/A Votes: 259 Popularity: 9.376 | TMDB

Reviews:

10/10
Method acting is taken to the extreme in the case of this film’s main character, Sabzian, a real-life person who impersonated a real-life filmmaker (Mohsen Makhmalbaf) he deeply admired, and who is taken to court by a family he has deceived — and has his trial filmed by Abbas Kiarostami. Watching the film, I was aware that these events really did occur, and that the actors playing these characters were the real people involved (the opening credits clue us in, when they say, “appearing as themselves”), but I did not catch on that the courtroom scenes were real footage — to be honest, I’m still not quite sure. (That IMDb lists the judge in the credits as “judge” and not as “himself,” makes me suspect that this is indeed all a reenactment.) But whether or not the entire film is a reenactment or only the time-shifting parts with Sabzian and the family at their home are reenacted, the moment where Makhmalbaf appears onscreen is a transcendent one, as true in spirit as “real life” (which it may indeed be).

Kiarostami is a true artist, the ideal described by Sabzian in the film, one who makes his films to depict the suffering of people. He’s one of the few with the power to seem wholly pure — he makes me feel, at least in the moment, that film’s real artists are the ones who aren’t mere stylists. They’re the ones interested in our hopes, our guilts, our ambitions, our fears. The ones interested in people. And here, Sabzian is trying to do something for other people; he’s symbol of their love for the arts, by himself masquerading as a great artist. He’s living vicariously through the artist he admires, and in doing so — however morally ambiguously — accentuating the most candid aspects of himself. By simply assuming another name, he can have people treat his views with respect, and in this way the film is a scathing attack on celebrity status and the priority with which we give them. However, Kiarostami doesn’t let us be satisfied with Sabzian’s candor; we’re never sure where we stand with him, and the possibility is that his entire court appearance is another grand performance. (With the credits rolling over a frozen image of Sabzian’s face, and his general persona of a troubled but deeply good-hearted person, I was reminded of an adult Antoine Doinel.)

Kiarostami and Sabzian admit that we’re all actors in one way or another, from a director to you and me: “We are the slaves of a mask hiding our true face. If we free ourselves from this, the beauty of truth will be ours.” This film and “Taste of Cherry” have got to me on such an intimate and personal level, and seem so honest and truthful — sometimes in a seemingly banal way — that I don’t know how I can recommend them to others. While I think this is a masterpiece, if you expect to be blown away you’ll be disappointed. But with artists this open, if you’re willing to open yourself up, too, hopefully it can mean as much to you as it does to me. 10/10

Review By: desperateliving
Vanity Fair
A guy (just a guy, you know, nothing more) claims to be a well-known filmmaker (Mohsen Makhmalbaf) and the people seem willing to believe him very easily. Is he a scammer, or a man living his illusions to the extreme? (at the end, the real filmmaker appears, and the confusion seems to be total). A reporter notices the possibility of a journalistic hit and determines the police to arrest the guy: the newsman will practically direct the action, while recording everything. Another well-known filmmaker (Abbas Kiarostami this time) asks to film the trial, and his request is approved immediately. The trial fails to clarify anything (in fact, at the end the plaintiffs withdraw their complaint), but the ciné-vérité feeling is overwhelming. Vanity Fair. We are in the Tehran of the 1990’s, and the people there seem obsessed with turning their lives into a movie show. After all, is the movie art struggling (and probably failing) to create the illusion of reality, or the other way around?
Review By: p_radulescu

Other Information:

Original Title کلوزآپ ، نمای نزدیک
Release Date 1990-05-09
Release Year 1990

Original Language fa
Runtime 1 hr 38 min (98 min)
Budget 0
Revenue 0
Status Released
Rated Not Rated
Genre Biography, Crime, Drama
Director Abbas Kiarostami
Writer Abbas Kiarostami
Actors Hossain Sabzian, Mohsen Makhmalbaf, Abolfazl Ahankhah
Country Iran
Awards 2 wins & 2 nominations
Production Company N/A
Website N/A


Technical Information:

Sound Mix Mono
Aspect Ratio 1.37 : 1, 1.85 : 1 (2K restored version)
Camera N/A
Laboratory N/A
Film Length N/A
Negative Format 16 mm (some scenes), 35 mm
Cinematographic Process Spherical
Printed Film Format 35 mm

Close-Up 1990 123movies
Close-Up 1990 123movies
Close-Up 1990 123movies
Close-Up 1990 123movies
Close-Up 1990 123movies
Original title کلوزآپ ، نمای نزدیک
TMDb Rating 7.911 259 votes

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