An awful year got worse yesterday with the announcement that Abbas Kiarostami, the great Iranian filmmaker, had passed away at the age of 76. Emerging as a leading light of the Iranian New Wave in the 1970s, Kiarostami stayed in the country after the Islamic Revolution, and despite the restrictions that came with both the production of his work and getting it out of the country, Kiarostami soon found international acclaim, with “Where Is The Friend’s Home?” winning a top prize from the Locarno Film Festival and helping to establish him as one of the major figures in international cinema.

READ MORE: R.I.P. Abbas Kiarostami (1940-2016)

His reputation only grew and grew over time: 1990’s “Close-Up” was named among the 50 Best Films ever made by the BFI in 2012, and 1997’s “Taste Of Cherry” won the Palme d’Or at Cannes. He was almost universally known as one of film’s leading lights, and even in a year that’s seen us lose Jacques Rivette, Andrzej Zulawski and Michael Cimino, his loss feels like a particularly crushing one.

We console ourselves the only way we can, through his work, as impeccable a filmography as you could ask for. Below, you’ll find an old retrospective circa the release of “Like Someone In Love,” Kiarostami’s final film, in 2013, featuring our eight favorite films by the director (leaning towards his fictional work, though fiction and documentary were malleable things in his hands). Hopefully it’ll encourage existing fans to revisit his work, and newcomers to start delving into it. Let us know what the filmmaker’s work meant to you in the comments.

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“Where Is The Friend’s Home?” (1987)
The inimitable Iranian filmmaker struck gold early on with his second feature, following a young boy attempting to deliver a notebook to his classmate which he absent-mindedly left at school. Should the boy return to class without this, he’ll most certainly be expelled. The duration of the story involves the journey, which entails meeting various folk along the way who provide insight as well as directions. In a way it’s kind of like the loosely-plotted road movies we’ve all come to know and love; the filmmaker uses the light premise to explore the rural areas and typical culture of the area. It’s much more touching and optimistic than other renowned child-perspective movies (“The 400 Blows,” “L’enfance nue“) and without the spurious nature of movies that tread on similar sentimental water. [B+]

Mohsen Makhmalbaf and Hossein Sabzian in Abbas Kiarostami's CLOSE-UP (1990). Courtesy Janus Films. Playing 3/26-4/1.

“Close-Up” (1990)
Playing fast and loose with the tenets of cinematic truth, documentary truth and outright lies, this genre-bending experiment focuses on the true-life story of a man who impersonated a filmmaker to ingratiate himself into the lives of an innocent family in Tehran. While this is played for fiction, Kiarostami has the real-life people playing themselves, acting out the charade of their lives, while peppering in actual footage of the ensuing trial. The combination of truth and playfulness seems like a rarity in the often seemingly stone-faced work of Kiarostami, but if anything, this film helps one to appreciate the sly humor and deconstructionism of the rest of his oeuvre by being such a self-conscious experiment. Even (and perhaps especially) with the theatrics, it’s one of his most straightforward and fulfilling pictures. [A]

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“Life and Nothing More…” (1992)
Meta is as meta does. In 1990, a devastating earthquake ravaged Northern Iran where the director’s “Where Is the Friend’s Home?” took place. Worried over the well-being of his two young leads, Kiarostami took to the road to make sure they were alive and well. The film follows this premise (somewhat of an alternate take on ‘Friend’s,’ asking around for the boys), with an actor cast in the Abbas role and a young boy journeying with him. It’s another chance to partake in Iran’s culture, but it also examines life, determination after tragedy, and human compassion. Though it has extra layers, the picture doesn’t suffer from over-saturation and remains just as moving, if not more, as the first film in the “Koker Trilogy.” [A]

THROUGH THE OLIVE TREES / UNDER THE OLIVE TREES

“Through the Olive Trees” (1994)
Studios and creative teams struggle to build off a successful feature, but Kiarostami effortlessly squeezes two beautiful and naturalistic tales out of his 1987 treasure “Where Is the Friends Home?” In this closing part of the trilogy, a man from “Life and Nothing More…” attempts to woo his love interest, who (along with her family) is turned off by his lack of income and prospects. Love doesn’t just give up, though, and the male seeks advice from the Abbas character while doing a scene involving his main squeeze. Bits from ‘Life’ are given a new layer and extended beyond their original cuts to detail the budding relationship between the prospective couple, which at times feel both voyeuristic and tender. These multiple and extensive observations into one situation constantly unveil new and varying layers to a situation already thought to be well-established, which is something that is often ignored by most directors either due to naivety or inexperience. Could the director have continued making movies with roots leading back to his sophomore feature? Probably, because even though it may seem like he exhausted the concept in theory, the three films remain as fresh as they ever were, and there’s still plenty of culture and topics left to explore. Human beings, human relationships, and life in general are very complicated and complex topics, so why is Abbas one of the only filmmakers to acknowledge this? Beats us, but so long as he’s taking that unpretentious approach, we’re happy to have him. [A-]