Abbas Kiarostami’s The Wind Will Carry Us opens with a journey. A cramped carload of engineers are tootling through the sun-bleached hillsides of Iranian Kurdistan, following directions to a remote mountain village. We track their progress in long shot; eavesdropping on their busy, back-and-forth dialogue while their faces stay hidden. When the car finally reaches its destination, the camera follows the chief engineer (Behzad Dourani) from behind as he makes his way up a narrow labyrinth of streets. It feels an eternity until we face him full-on. His companions remain forever off-screen.The Wind Will Carry Us 1999 full Movie Download,
In the explicit, show-them-everything landscape of modern cinema, The Wind Will Carry Us stands alone. It’s a one-off; a coy, sleight-of-hand masterstroke; a simple folk-tale that contains bottomless pools of ambiguity. In dramatic terms, it reveals its hand slowly – and even then will only go so far. It seems that, for Kiarostami, what is not shown is often as crucial as what is.The Wind Will Carry Us 1999 full Movie Download.
The plot is structurally basic. Emotionally, it’s fathoms deep. Dourani’s engineer arrives at a far-flung village on an enigmatic mission. Treated as a respected guest by the villagers, he commandeers a local kid as his tour guide – dragging the child away from his studies to brief him on the town’s inhabitants. Behind a blue-shuttered window, an old woman lies dying. Out on the hillside a local labourer is digging a telecommunications pipeline. Both events appear implicitly linked, with the old under threat from the new; the hermetically sealed community (with all its rituals and mores) about to be opened up to the outside world.Except that it’s not quite as plain as that, because Kiarostami never pushes any big message or works himself off to some glib punch-line (although the final scene with the local doctor is the film’s most conventional). Instead he appears happiest when he’s at his most oblique. (The Iranian censors were particularly troubled by one key scene in which the engineer chats with a local girl who stands in the shadows milking a cow. They felt it was sexual scene: trouble was, they couldn’t say for sure.)
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