Why Did Abbas Kiarostami Film Often Use Long Takes?

2025-08-25 16:56:19 385
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4 Answers

Wyatt
Wyatt
2025-08-26 03:24:12
Sometimes I think of his long shots as invitations to eavesdrop gently. A few years ago I watched 'Where Is the Friend's Home?' on a rainy afternoon and those sustained framings made me note how kids fidget, how doors creak, how light travels across a floor—details you’d miss with brisk editing. He seems to love the ordinary and trusts that the ordinary contains meaning if you’re willing to look.

They also create a moral rhythm: by making us stay with a scene, he forces us to confront choices and hesitations the characters don’t dramatize. It’s like he hands you a small puzzle and expects you to sit with it for a while—something I appreciate when I have the patience.
Declan
Declan
2025-08-26 22:44:28
I tend to watch films with a technical eye, and Kiarostami’s long takes fascinate me because they accomplish several filmmaking goals simultaneously. First, they preserve spatial and temporal continuity: the camera treats time as continuous, which changes how narrative causality is perceived. You don’t get quick cuts telling you what to feel; you experience duration and let rhythm emerge. Second, long takes foreground performance and mise‑en‑scène—blocking, eyelines, ambient sound—so every micro‑movement carries weight. In 'Through the Olive Trees' those sustained frames allow the landscape and non‑actors to participate organically.

There’s also an ethical dimension: by resisting montage, Kiarostami reduces editorial coercion. He often worked close to documentary practice, and allowing takes to breathe honors the real presence of his subjects. Practically speaking, long takes can be economical—fewer setups, more reality captured in a single pass—but for him it’s clearly aesthetic, a philosophy that treats patience as a central storytelling tool. The result is cinema that asks for attention rather than demanding it.
Molly
Molly
2025-08-27 22:17:02
I was watching 'Close‑Up' on a cramped laptop in a coffee shop and nearly forgot to sip my drink because Kiarostami’s long takes pulled me in. For me they’re like giving someone a generous chunk of silence to think—no one rushes, and small gestures become huge. He uses duration to blur the line between documentary and fiction, letting real people breathe inside a framed composition.

There’s also a tactile quality: the hum of a car, the scrape of a shoe, a distant dog barking—these sounds become characters in their own right because the camera doesn’t chop the moment into pieces. It feels democratic; you get to decide which detail matters. And on a smaller note, these takes show off how much he trusted his actors and his settings, often turning ordinary roads and simple houses into deep emotional terrain. I walk away from his films feeling like I’ve spent time with someone who won’t interrupt my thoughts.
Vanessa
Vanessa
2025-08-29 15:36:26
Whenever I sit down to watch one of Kiarostami's films I get this slow, satisfied feeling like I'm stepping into a quiet room where everything important happens between breaths. I think the long takes are his way of trusting the viewer: he gives you time to notice off‑camera sounds, to watch a face quietly change, to feel the landscape alter the mood. In 'Taste of Cherry' the camera lingers not to show action but to let questions settle and echo.

On a practical level, those extended shots let non‑professional actors live the moment rather than act it, which makes scenes feel raw and true. I also sense a poetic stubbornness—he resists montage and flashy editing because he wants cinema to be a slow conversation, not a textbook of answers. That patience creates space for ambiguity; you leave with more questions and a personal angle on what you saw.

I first noticed this on a late‑night screening with friends, and we all ended up talking about a single five‑minute take for an hour. That’s exactly his trick: long takes turn viewers into collaborators, filling silences with their own thoughts.
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