Taste of Cherry
| Taste of Cherry | |
|---|---|
Film Poster
|
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| Directed by | Abbas Kiarostami |
| Produced by | Abbas Kiarostami |
| Written by | Abbas Kiarostami |
| Starring |
Homayoun Ershadi Abdolrahman Bagheri Afshin Khorshid Bakhtiari Safar Ali Moradi |
| Cinematography | Homayun Payvar |
| Distributed by | Zeitgeist Films |
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Release date
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May, 1997 (Cannes) September 28, 1997 (New York Film Festival) January 30, 1998 (U.S.) June 5, 1998 (UK) |
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Running time
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95 minutes |
| Country | Iran |
| Language | Persian |
Taste of Cherry (Persian: طعم گيلاس..., Ta’m-e gīlās...) is a 1997 film by the Iranian filmmaker Abbas Kiarostami. It is a minimalist film about a man who drives through a city suburb looking for someone who can carry out the task of burying him after he commits suicide. It was awarded the Palme d'Or at the 1997 Cannes Film Festival.
Mr Badii (Homayoun Ershadi), a middle-aged man, drives through Tehran looking for someone to do a job for him, and he offers a large amount of money in return. During his drives with prospective candidates, Badii reveals that he plans to kill himself and has already dug the grave. He needs someone to throw earth on his body, after his death. He does not discuss why he wants to commit suicide.
His first recruit is a young, shy Kurdish soldier, who refuses to do the job and flees from Badii's car. His second recruit is an Afghan seminarist, who also declines because he has religious objections to suicide. The third is an Azeri taxidermist. He is willing to help Badii because he needs the money for his sick child, but tries to talk him out of it; he reveals that he too wanted to commit suicide a long time ago but chose to live when he tasted mulberries. The Azeri promises to throw earth on Badii if he finds him dead in the morning. That night, Badii lies in his grave while a thunderstorm begins. After a long blackout, the film ends by breaking the fourth wall with camcorder footage of Kiarostami and the film crew filming Taste of Cherry.
The film is minimalist in that it is shot primarily with long takes; the pace is leisurely and there are long periods of silence. Mr. Badii is rarely shown in the same shot as the person he is talking to (this is partly because during the filming, director Kiarostami was sitting in the car's passenger seat).
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Wikipedia