They walked through a vast zig-zagging path up the hill, then disappeared into the deep green sea of the olive trees. For minutes, the camera just stared. The wind rustled the leaves. The world was quiet, indifferent to human longing, yet vibrantly alive.
The plot of Through the Olive Trees is deceptively simple. In the aftermath of the devastating 1990 Rudbar earthquake in northern Iran, a film crew is shooting a movie. That movie, we gradually realize, is And Life Goes On… — the second film in the trilogy. The “director” (played by Kiarostami’s frequent collaborator, Mohamad Ali Keshavarz, though the character remains unnamed) is casting local non-professionals.
Through the Olive Trees (1994), directed by the legendary Iranian auteur Abbas Kiarostami, stands as a crowning achievement in world cinema, offering a profound meditation on art, reality, and human longing. As the final installment in the "Koker Trilogy"—following Where Is the Friend’s House? (1987) and And Life Goes On (1992)—this film masterfully blurs the lines between fiction and documentary, showcasing Kiarostami’s unique ability to find poetic truth within the mundane.
Abbas Kiarostami's 1994 film "Through the Olive Trees" is a poetic and contemplative masterpiece that weaves together the threads of love, loss, and longing in a small Iranian village. This cinematic gem is a testament to Kiarostami's unique storytelling style, which blurs the lines between reality and fiction, and invites the audience to reflect on the human condition.
The of the Iranian New Wave in global cinema Through the olive trees- Abbas Kiarostami
The film tells the story of a young man, Hossain (played by Mohsen Namjoo), who falls in love with a woman, Shirin (played by Puya Takavar), while engaged to be married to another. As Hossain struggles to come to terms with his feelings, Kiarostami masterfully weaves a narrative that blurs the lines between reality and fiction. The film's use of non-professional actors and a loose, improvisational style adds to its sense of authenticity, making the characters' emotions feel all the more genuine.
By showcasing the mechanics of film production, Kiarostami invites the audience to become active observers, questioning the authenticity of what they are viewing. The Ending: A Lasting Impression
Through the Olive Trees competed for the Palme d'Or at the 1994 Cannes Film Festival and solidified Kiarostami’s reputation as a master of modern cinema. It perfectly encapsulates his philosophy: that cinema should not give answers, but rather ask questions and collaborate with the viewer's mind. Decades after its release, the film remains a masterclass in how to find profound cosmic beauty within the ordinary fabric of human life.
The Director watched all of this. He realized the drama happening between the takes was infinitely more beautiful and tragic than the script he had written. Life was refusing to imitate his art, so he decided his art must chase after life. They walked through a vast zig-zagging path up
As one critic put it, taken together, the trilogy is "Kiarostami's way of expressing hope for a community riddled by loss, as the compassion and love for his characters (most of them non‑actors) emanate through his brick‑layering exploits". But Kiarostami's bricks are unusual. He builds not with stone and mortar but with recursive layers of fiction and reality, each level reflecting and distorting the levels below.
, a landmark of Iranian cinema that blurs the lines between fiction and reality. Set in the earthquake-stricken region of Northern Iran, it follows a film crew shooting a scene for the trilogy's previous installment, And Life Goes On Core Storyline: A Film Within a Film The "feature" within the movie focuses on , a local bricklayer cast as a groom, and , the young woman playing his bride. The Conflict
Then, they come to a fork in the road. The path splits through a large olive grove. Tahereh takes the upper path; Hossein takes the lower. The audience holds its breath. Is it over? Did he fail?
The of 1990s post-earthquake Iran Share public link The world was quiet, indifferent to human longing,
Kiarostami is known for his patient filmmaking. Through the Olive Trees features long, uninterrupted takes that allow the viewer to fully immerse themselves in the scene and appreciate the subtle performances of the actors. The Path as a Narrative Device
: The film is known for its contemplative pace and long, wide shots that allow the natural landscape—the lush green hills and vast olive groves—to become central characters.
[Where Is the Friend's House? (1987)] ▲ │ (Earthquake occurs; director returns) │ [And Life Goes On (1992)] ▲ │ (Behind-the-scenes reconstruction) │ [Through the Olive Trees (1994)] Plot and Metacinematic Structure
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