| ![]() Abbas Kiarostami’s Where is the Friend’s House? is, like the neorealist works from which it descends, deceptively simple and utterly profound. The story of a young boy who lives in rural Iran attempting to return a notebook to a classmate from a neighboring village, it fulfills the admonition of neorealist theoretician Cesare Zavattini that “the artist’s task is not to make people moved or indignant at metaphorical situations, but to make them reflect (and, if you like, to be moved and indignant too) on what they and others are doing, on the real things, exactly as they are.” Kiarostami spent much of his early career in the 1970s and early ’80s making documentaries, and his eye for “real things, exactly as they are” is particularly tangible in Where is the Friend’s House, which conveys the essence of its characters’ lives in direct, broad strokes that are neither obtrusively cinematic nor faux-documentary. Instead, Kiarostami finds a perfect middle ground, a delicate, poetic balance of telling a fictional story in a way that feels simply captured, rather than constructed. The story takes place over a 24-hour period, beginning at a rural schoolhouse where we are introduced to the protagonist, 10-year-old Ahmed (Babek Ahmed Poor), whose bright eyes, small, tight mouth, and narrow face convey an intensity of purpose that feels years beyond his youth, yet maintains a genuine, endearing naivete. The schoolteacher (Khodabakhsh Defaei), a stern, humorless man, makes it clear to Ahmed’s desk-mate, Mohamed (Ahmed Ahmed Poor), that, should he arrive at school the following day without his notebook, he will be expelled. When Ahmed goes home that afternoon, he discovers that he has accidentally taken Mohamed’s notebook home with him, and he feels compelled to return it to him, even though he lives in a neighboring village of Poshteh. He tries to tell his mother (Iran Outari), but she refuses to listen to him—a recurring theme throughout the film. Although she instructs him to go to the market to buy bread, he instead leaves for Poshteh, hoping he can figure out where Mohamed lives so he can return the notebook. That turns out to be much easier in concept than execution, as Poshteh is a sprawling village of similar-looking adobe houses with no numbers and markings. The people living there are mostly unhelpful, but not deliberately so, and as the afternoon grows late, it seems more and more likely that Ahmed will fail in his earnest mission. Within that simple narrative framework, which borrows such classical narrative conventions as the goal-oriented protagonist and the deadline without ever feeling fabricated, Kiarostami evokes a deep well of fundamental human decency. In a world with so much cruelty and lack of empathy for our fellow human beings, Kiarostami has crafted a simple, but elegant paean to the revolutionary idea of doing the right thing for its own sake. Ahmed feels responsible for taking the notebook and realizes that his friend will be expelled if he doesn’t do something about it. He could have easily sat back and done nothing (and possibly even blamed Mohamed for not making sure he had his notebook before leaving school), but instead he takes it upon himself to correct the situation, even though it puts him at risk of getting in trouble. Like Albert Lamorisse’s The Red Balloon (1956), Ken Loach’s Kes (1969), and Steven Spielberg’s E.T. The Extra-Terrestrial (1982), Where is the Friend’s House? is told purposefully from a child’s point of view—not, I emphasize, a childish point of view. Seeing the world through Ahmed’s clear sensibility and forthright determination allows us to regain a sense of humanity that is all too often lost in the modern rush for attention and victory. Ahmed just wants to do what’s right, and Kiarostami’s film reminds us of how profoundly beautiful that can be.
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Overall Rating: (4)
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