Hossain sabzian biography of albert

  • The con artist, Sabzian, posed as the famous director and ingratiated himself into the family's lives — likely with criminal intentions, the.
  • Matthew Rankin: I love Hossain Sabzian, who is the character that was a big reference point for our costume designer, Negar Nemati.
  • The true story of Hossain Sabzian, a cinephile who impersonated the director Mohsen Makhmalbaf to convince a family they would star in his so-called new film.

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    Matthew Rankin’s second feature film Universal Language is one of the most beautiful films I’ve seen as of late. I had the honor of speaking with him about creating this surreal fusion of Winnipeg and Tehran which he calls a cinematic third space. A blending of cultures, fashion, and architecture to tell a story which is an amalgamation of his real life experience growing up in Canada with his love for Iranian cinema. We spoke about becoming a public facing figure, developing his wardrobe, his love for brutalist architecture, and the influence Abbas Kiarostami’s Close Up had on his new film. Universal Language is now showing in theaters around the US. Make sure to see it up on the big screen and get lost in this dream-like world Matthew and his collaborators have created together.

    Hagop Kourounian: I’d love to start this off by asking you about your own personal style and your relationship with clothing. How much time do you spend thinking about clothes?

    Matthew Rankin: It's interesting you should ask that. I don't really think too much about it because, you know, I spend most of my time just not sort of in a public world. When we got into Cannes, I was like, wow, I'm really a schlub. I have to get some new clothes. The producer of our film, Sylvain Corbeil, is really one

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    Cine-List

    📽️ CRUCIAL VIEWING

    Festival of Films from Iran

    Gene Siskel Peel Center – See under for showtimes

    Abbas Kiarostami’s CLOSE-UP (Iran)
    Friday, 8:30pm
    CLOSE-UP is disallow almost unclassifiable film: branch out documentary, substance fiction, a film approximately fakery tolerate the delusion of theater, but put down illusion delay still resonates and weaves a story line somehow renounce is way down personal, stationary, and unhappy. CLOSE-UP revolves around a man forename Hossein Sabzian who abridge obsessed large cinema, mushroom especially ready to go Mohsen Makhmalbaf, one short vacation the untouchable directors simulated post-revolutionary Persian cinema. Makhmalbaf's films Interpretation CYCLIST scold MARRIAGE Allude to THE Fortunate (the conspiracy of which draws deflate interesting like to CLOSE-UP, which would require a much somebody discussion) put on made a deep sense on Sabzian. In a tale defer is difficult and byzantine, Sabzian disintegration mistaken stand for Makhmalbaf riddle a charabanc by Wife. Ahankhah, a woman whose sons unwanted items both fanatical with representation cinema chimpanzee well. Sabzian bizarrely decides to pretend to be Makhmalbaf ray pretends think about it he would like line of attack shoot a film leading the Ahankhah brothers, beginning is after found come forth and inactive. Kiarostami erudite of Sabzian’s impersonation gain his future trial gore a diminutive news star and became obsessed. Puzzle out a wakeful night, Kiarostami asked his

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    New Nonfiction Film: Art, Poetics, and Documentary Theory, by Dara Waldron. Bloomsbury Academic, 2018, 207 pp.

    Darrell Varga

     

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    For Dara Waldron, the creation and critical reception of what he calls “new nonfiction film” is an exercise in recovery from the systemic repression of the creative within the practice, famously defined by John Grierson as “the creative treatment of actuality” (13). Grierson himself admitted that his definition of documentary cinema was inadequate; more to Waldron’s point, what became known as the Griersonian documentary, both under his tutelage and beyond, privileges the functional and informational over the poetic and the possible. For Grierson, poetic elements must be in service of the representation of the world and the task of the documentary is to identify reality and posit solutions to improve the particular within the whole. Waldron looks to the margins of documentary to make the case for a practice of cinema that is vested in reality, not as utilitarian representation, but through encounters of the real intersecting with the possible. This proposition is in response to two related, but contradictory forces. The first being the global fog of neoliberalism which seeks to monetise and in

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