Which Abbas Kiarostami Film Won The Palme D'Or?

2025-08-25 04:23:07 205

4 Answers

Sophia
Sophia
2025-08-27 07:50:01
If you want the short and lively scoop I’d say: the Palme d'Or went to 'Taste of Cherry' in 1997. It’s one of those films that makes you slow down—Kiarostami’s pacing and the way he records conversations feels almost like listening to strangers on a park bench. I watched it after a friend insisted I’d appreciate the subtlety, and they were right; it’s simple on the surface but loads of small moral questions bubble under.

I’d recommend watching it when you have a quiet evening free—bring tea, not popcorn. It’s the kind of movie that lingers, and sometimes I find myself thinking about a single exchange from it days later, which is the sign of a film that stuck with me.
Vesper
Vesper
2025-08-29 11:57:06
One of my favorite little triumphant facts to bring up at film nights is that the film which won the Palme d'Or is 'Taste of Cherry'. Cannes crowned it in 1997, and it always feels like a neat bookmark when I talk about modern Iranian cinema—Kiarostami's quiet, probing style really knocked people sideways then. The movie follows a man quietly wandering, looking for someone to bury him when he intends to end his life; the whole thing is soaked in long takes, patient conversations, and that peculiar blend of documentary realism and poetic ambiguity that Kiarostami mastered.

I first saw it on a rainy evening with cheap coffee and a notepad, and I still recall pausing to scribble down lines of dialogue. If you like films that give you space to think and leave threads untied, 'Taste of Cherry' is a gift. It also pairs nicely with 'Through the Olive Trees' for a deeper dive into his recurring themes about fate, choice, and the act of looking itself. Watching it feels less like being told a story and more like being invited into a very intimate, moral puzzle, and that’s why it stuck with me.
Yolanda
Yolanda
2025-08-31 11:35:50
I was in a small cinema class when someone announced that 'Taste of Cherry' had won the Palme d'Or in 1997, and the whole room kind of went quiet—like everyone was suddenly aware they were in the middle of cinema history. I liked how the film doesn’t shove answers at you; instead it sits beside you while you think about heavy stuff. There’s a man driving around, he meets different people, and their exchanges are simple yet loaded. Kiarostami’s camerawork often feels observational, almost like you’re eavesdropping on real life.

People debated it for a while after the screening—some loved the ambiguity, others wanted more closure—but that’s exactly what made it a Palme winner, I think. It’s a weird, gentle, stubborn movie that rewards patience. If you’re into slow, thoughtful films or studying film narrative, it’s a must-see and a great conversation starter.
Daniel
Daniel
2025-08-31 18:39:02
I can say with a critic’s itch that the Palme d'Or went to 'Taste of Cherry' at Cannes in 1997, and that win marked a pivotal moment for Iranian cinema on the global stage. Watching it now, you notice how Kiarostami plays with point of view and reality: long observational shots, minimal score, and characters who feel more like people you meet on a street than fictional constructs. The last sequence—well, it’s famously ambiguous and still sparks debates in classrooms and online threads I lurk in.

What fascinates me is how the film earned the Palme despite being so anti-spectacle; its power is quiet and accumulative. I often recommend it to friends who claim they don’t like arthouse films—if they sit with it, they often come away surprised by its emotional gravity. Also, fun aside: Kiarostami was the first Iranian director to receive that top prize, which made the Cannes coverage that year feel especially charged and celebratory. It’s a compact masterpiece that keeps giving when you rewatch it.
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