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.
Euzhan Palcy Remembers Brando’s Nerves on the Set of A Dry White Season
Marlon Brando hadn’t been in a movie in almost a decade when he took on his Oscar-nominated role in A Dry White Season. The film’s director talks about the pleasures of collaborating with the legendary actor.
The “Very Unusual” Fashion Show at the Heart of True Stories
In this video, artist Adelle Lutz and director David Byrne discuss the weird and wonderful outfits in a particularly outrageous set piece in the film.
Behind Marilyn Monroe’s “Period-ish” Look in Some Like It Hot
A costume designer can make characters come alive. In this new interview, two historians explore how Orry-Kelly’s gowns helped Marilyn Monroe embody one of her finest roles.