With 24 Frames, the film that would become his last, Abbas Kiarostami made one of the most conceptually daring—and painstaking—works of his career. Over the course of several years, the Iranian filmmaker hunkered down with visual effects supervisor Ali Kamali to create a singular meditation on how we perceive and record the world around us: working with paintings, photographs, and imagined scenes, many of them depicting landscapes and wildlife, Kiarostami and Kamali undertook to digitally animate each still image into a minimalist, four-and-a-half-minute movie of its own. At the time of director’s death in 2016, work on the intimate and elegiac film—a collection of twenty-four of these quietly revelatory vignettes—was mostly, though not entirely, complete. In the above clip, taken from a supplement on our new edition of 24 Frames, Kiarostami’s oldest son, Ahmad Kiarostami, talks about his father’s immersion in the project, as well as his own eventual role in helping complete it. As he describes here, the younger Kiarostami oversaw such finishing touches as culling down the thirty completed frames to the requisite twenty-four—from the beginning of the project, the number was central to its conception—and designing the sound based on instructions left behind by his father.
Charles Burnett Calls Forth the Ghosts of the Old World
In an interview program on our edition of To Sleep with Anger, the director and his actors discuss the African-American folkloric traditions at the heart of the film.
Liv Ullmann Recalls “Shattering” Moments on the Set of Shame
While working on Ingmar Bergman’s devastating antiwar film, the actress developed an emotionally intense chemistry with her costar Max von Sydow.
The Real-Life Rage That Fueled Lee Grant in In the Heat of the Night
In this excerpt from a new interview, the actor talks about how she channeled her political anger in the role of a distraught widow in Norman Jewison’s Oscar-winning crime drama.