Taste of Cherry 1997 Film

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Using the Rosenbaum-Ford debate I will be analyzing how Abbas Kiarostami’s 1997 film Taste of Cherry’s epilogue and final scene comment on post-revolutionary Iran using the open image as well as how each has argued on what the scenes have achieved in relation to the rest of the film.

The film has been mostly well received by international critics winning a Palme d’OR at Cannes but not so much in Iran as many felt it had problematic images of the society of the time. It follows the protagonist Mr. Badii as he rides through the outskirts of Tehran looking for someone to help him complete a task. As the film is shot in Iran it will carry signs of post revolutionary Iranian culture already opening up our curiosity to the cultural discourse that surrounds the film. What Kiarostami does is portray an Iranian image and by including the epilogue raises questions of how to transcend it.

In his writing Rosenbaum's argument that the end sequence acts as a relief from the solitude of Mr. Baadhi's consciousness and journey that we have followed is based on the motif of solitude that Kiarostami established throughout the film. He sees it as an uplifting ending, one that gives the film a hopefulness that had up to then not been present, stating that it is the opposite to the distancing effect felt beforehand that Kiarostami had created.

Hamish Ford on the other hand has a different view, seeing the epilogue as a kind of cop out on Kiarostami's part. Kiarostami creates a visual and

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