Indiana University Cinema

Like Someone In Love

One of my favorite aspects of Abbas Kiarostami’s films is how thoroughly he realizes the world within and around his characters. You hear the “world of the film” used often to describe the visions of directors attendant to detail, but no other filmmaker manifests a world of the film at quite the intimate yet expansive scope that Kiarostami does. His films make the camera feel almost incidental, as if this is simply the character or the moment that Kiarostami decided to focus on amongst a great many incidents and possibilities happening around that character or that moment. The world of his films offers glimpses into the lives of supporting characters, any of whom could be the focus of a Kiarostami film all their own. Take his latest, Like Someone in Love, for example. At one point Akiko (Rin Tanakashi) has her cab driver circle a roundabout while she looks on at her grandmother at a transit stop, who obliviously waits for a family visit that will never occur. Kiarostami sticks with Akiko, but we carry that glimpse into the world of other possibilities that surround her life for the rest of the film. It takes incredible craftsmanship to make films feel as seamless, realist, and spontaneous as Kiarostami does. Last week, Kiarostami stopped by the Indiana University Cinema to discuss filmmaking with Richard Peña on the occasion of the Cinema’s retrospective of his career. So here is some free film school (for fans and filmmakers alike) shared by the internationally renowned director.

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IU Cinema

In 2010, Jon Vickers was named the first director of the Indiana University Cinema, a bold initiative to build a world-class film screening program at the university. The hiring, much like the renovation of their 1930s theater into a THX-certified modern venue, was a noted combination of reverence for cinematic history and foresight into its future. In this interview, we sit down with Vickers to take a verbal tour of the new theater, to discuss the challenges of programming in an age between film and digital, to figure out how to entice Werner Herzog to your cinema, and to share a personal love of movies. Of course, there’s also the big question: how can an art house scene thrive in a city of only 80,000? Check out the interview below: Download This Interview Enjoy More Reject Radio

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published: 12.22.2014
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published: 12.19.2014
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published: 12.18.2014
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