The Wind Will Carry Us


“I believe in a type of cinema that gives greater possibilities and time to its audience. A half-created cinema, an unfinished cinema that attains completion through the creative spirit of the audience, so resulting in hundreds of films.”

— Abbas Kiarostami







The Wind Will Carry Us opens with a car winding its way toward a village sequestered in the countryside of Iranian Kurdistan.

It’s driven by a man known only as “the engineer”, here for particular, but mysterious reasons.

As he waits for the death of an elderly woman, the engineer gradually becomes accustomed to the village's pace and rhythms.

His informal guide is a young boy: a fount of innocently but intransigently held worldly knowledge.

Abbas Kiarostami’s film is elusive and elliptical, leaving tantalising gaps for his audience to imagine into. But it is also firmly fastened to the everyday, material realities of the village of Siah Dareh – a real place whose actual inhabitants make up the supporting cast.

In the film's closing scenes, the village doctor quotes a poem by Forough Farrokhzad, which celebrates the sensual pleasures of life on earth over the speculative promise of the afterlife.

Kiarostami’s attentive filmmaking seems to enact Farrokhzad’s call to “prefer the present”. 

With its unwavering tracking shots and calmly arresting set-pieces, The Wind Will Carry Us is a miraculously assured film, its rich complexities made to feel as natural as breathing.

In The Guardian, Xan Brooks called it “a one-off; a coy, sleight-of-hand masterstroke; a simple folk-tale that contains bottomless pools of ambiguity”. 

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