#butt bone

[sayyoullmissme]

During your first trimester (any pregnant girls) did your butt-bone hurt a lot? it’s so weird..

[mr-mama-jama]

I will fail anatomy

I just caught my self singing the words "the head bone is connected to the butt bone" ummmmm I think I need help

[filmslutch]

ABBAS KIAROSTAMI

         ’… All the aesthetic elements that formed the bedrock for Iranian film success were there: the figure of the child, Persian poetry, traditional values, nature.’

Rumor has it, when Iran was deep into its cultural ban of the west, filmmakers in training there were exposed to Bresson, Parajanov and Tarkovsky.  This was a deliberate move to incubate a distinct cinematic identity for Iran.  Because recreations of nature were banned in painting, the filmic style descended more from their poetic heritage than any preexisting images.  These concerns stirred a perfect storm of not just Iranian cinema, but humanist cinema in general.  The name of this storm is Abbas Kiarostami.

Kiarostami made movies with children, Persian poetry, and lots of nature.  He made them not to appease the needs of his government, but to lob a soul grenade into them which stated: ‘The dreams of the artist leapfrog over any system or limitation you put in its path.'  He addressed their concerns, then made his movies so potent that they transcended the time and place which spawned them.  Kiarostami is bad to the butt bone.

'Stami’s films will make you feel like a dog-dick sinner.  He says so much with so little - his trip is one of minimalism.  He don’t do music.  He don’t do hella coverage, voice over or montage.  He trips on the wide oner.  He likes his people riding in cars, down winding roads.  He likes non-actors showing their pink stuff.  He favors ambient noise and sounds coming from off screen.  He sometimes vibes heavily on a meta perspective.  

        In Close-Up, Life and Nothing More, and Through the Olive Trees, 'Stami is a total meta head, exploring different layers of truth and fiction and how they fold over each other.  He acknowledges the world of the film as well as outer layers of reality.  Where Is the Friend’s House? is about a little boy traveling to a neighboring village to return his schoolmate’s textbook.  The next movie, Life and Nothing More, is about a fictional version of 'Stami - a filmmaker looking for the little boy he directed in the first movie.  Finally, 'Stami makes a movie about another counterfeit version of himself filming the movie about the first fictional version of himself as the director looking for the little boy from the first movie.  Layers.  Meta.  Truth.  Onion petal grenades exploding your brainsoul.

                    'Stami wears dark lensed glasses because of a sensitivity to light.  His unique prescription allows him to see through the bullshit of contrived plot or performance.  Nearsightedness allows him to leave lots of information out of focus, leaving it up to the viewer to engage his or her own imagination to fill in the blanks.  He’s an ellipse jammer.  'Stami makes you work.  'Stami rewards you heavily.  Godard said cinema ends with Abbas Kiarostami.  Glad I stayed awake 'til the end.  

سلام

[a-perfect-blog-just-blog]

My buttbone hurts so bad.