Introduction
“And Life Goes On” is an Iranian film by Abbas Kiarostami, the third installment of the Koker trilogy. This is a road movie in which the director travels with his son across Iran after a devastating earthquake to find the actors from the previous film, “Where Is the Friend’s House?” The director mixes documentary and fiction to convey the aftermath of the tragedy in an artistic setting. The central theme of the film is the celebration of life, realized through various means, including mise-en-scène, lighting, cinematography, and editing.
Lighting
The first technique used that stands out when watching a movie is the use of light. Despite the tragedy of the events described, the light in the picture is predominantly warm. Sunlight in the film symbolizes the rebirth and triumph of life in the face of adversity.
The scenes of earthquake destruction emphasize the contrast between the catastrophe and the desire for life. Art is a reflection of life, and Kiarostami uses this thesis to prove his idea. A real earthquake serves as a frame for the thesis about the value and triumph of life, which is reflected in the image: it is fragmented, chiefly framed by the edges of the car or the boundaries of the landscape.
Mise-en-Scene
In addition to celebrating life, the film emphasizes the importance of fatherhood. The director emphasizes this theme through a distinctive mise-en-scene: the hero’s son mostly sits in the back seat of the car, while the father is often depicted in a close-up foreground, behind the wheel. The film’s positioning of its characters and their dialogue, in which the son constantly asks questions, highlights the importance of the father’s figure to the boy.
An important scene in the film is a football match, one of whose dialogue lines is included in the film’s title. The father allows his son to stay with other children and watch the World Cup match, symbolizing that even during internal tragedy, the outside world continues to live. When the father leaves his son to return later and continues driving through the mountains, the viewer is shown a scene filmed with a camera pull-back to convey perspective (And Life Goes On 1:30:00). This technique further illustrates the idea that the world beyond the inner tragedy continues to exist.
Cinematography
Cinematographic features are also crucial for understanding the director’s thoughts. In many parts of the film, the image remains relatively stable; however, some scenes were shot using manual techniques (And Life Goes On 1:20:00-1:22:00). Firstly, this technique is necessary for deeper viewer immersion in what is happening and to add realism to the film. This technique showcases the instability and dynamics of life, bringing a sense of liveliness to the journey along earthquake-affected roads.
Conclusion
In conclusion, the director of “And Life Goes On” employs cinematographic language to convey the idea that life triumphs over a deadly tragedy. This idea is conveyed through the use of light, contrast in editing, camera techniques, and the positioning of the actors. Combining documentary and fantasy, Kiarostami crafts a story about individuals who remain resilient and appreciate life even in the most challenging situations.
Work Cited
And Life Goes On. Directed by Abbas Kiarostami, Criterion Collection, 1992.