Discover why Abbas Kiarostami's 'Close-Up' ranks among cinema's greatest achievements by blurring documentary and fiction, as real people reenact their own story of impersonation, identity, and the profound nature of artistic truth.

Whether in documentary or fiction, what we tell the viewer is all a big lie. Our art consists in telling this lie in such a way that the viewer believes it and a deeper truth can emerge.
Creato da alumni della Columbia University a San Francisco
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Creato da alumni della Columbia University a San Francisco

Jackson: Hey there, film enthusiasts! I'm Jackson, and today I'm joined by my friend and fellow cinephile, Nia. We're about to explore one of the most fascinating films in cinema history that you might not have heard of.
Nia: Absolutely, Jackson. Abbas Kiarostami's 1990 Iranian film "Close-Up" is truly something special. It ranked #17 in the 2022 Sight and Sound critics' poll of the greatest films of all time, yet many casual moviegoers aren't familiar with it.
Jackson: Wait, it ranked that high? What makes this film so significant that critics place it among the all-time greats?
Nia: Well, it completely blurs the line between documentary and fiction in a way that was revolutionary. The film tells the true story of Hossein Sabzian, a poor, unemployed man who impersonated famous Iranian filmmaker Mohsen Makhmalbaf and convinced a wealthy family they would star in his next film.
Jackson: So it's about identity theft? That doesn't sound particularly groundbreaking on the surface.
Nia: That's what makes it so brilliant! On the surface, yes, it's about impersonation, but Kiarostami does something remarkable – he gets everyone involved in the real case to play themselves in the film, including Sabzian, the family he deceived, and even the judge who presided over the trial.
Jackson: Hold on... so the actual people reenacted their own experiences? That's wild! I'm curious though – what was Sabzian's motivation? Was he just trying to scam this family?
Nia: That's where it gets interesting. When Kiarostami asks Sabzian about his actions, Sabzian makes this profound distinction. He says, "What I did looks like fraud from the outside (zāher)." And when Kiarostami asks what it really is (bāten), Sabzian replies, "Truly, I am interested in art and cinema." Let's explore how this film uses these concepts of appearance versus inner reality to create something truly revolutionary in cinema.