Abbas Kiarostami

阿巴斯·基亚罗斯塔米是一位伊朗电影导演、编剧、诗人、摄影师，被广泛认为是世界电影最具影响力的人物之一。在他的近五十年的职业生涯中，他制作了四十多部电影，包括短片和纪录片。他因《我的朋友的家》（1987-1994）、《特写》（1990）、《樱桃的滋味》（1997，荣获戛纳金棕榈奖）和《风会载着我们走》（1999）而享誉国际。他后期的作品《合法副本》（2010）和《像恋人一样》（2012）分别在意大利和日本拍摄，标志着他首次在伊朗境外拍摄电影。基亚罗斯塔米的作品在2018年BBC文化投票评选的100部最佳外国电影中榜上有名，《特写》在2012年《视与听》杂志评选的史上最伟大的50部电影中也名列前茅。他被认为是伊朗新浪潮电影的大师，以其融合虚构与纪录片风格的诗意、哲学风格而闻名。

基亚罗斯塔米的作品常以儿童为主角，背景设定在乡村，并通过车内对话和固定镜头来呈现。波斯诗歌渗透在他的对白和主题中，探索生命、死亡、变化和延续。他还从事摄影和诗歌创作，出版了多部诗集。基亚罗斯塔米于2016年7月4日因病在巴黎去世，享年76岁，留下了至今仍在激励着世界各地电影人的深刻遗产。[编辑]

基亚罗斯塔米于1940年出生于德黑兰，在一个中产阶级家庭中长大。从小，他就对艺术表现出浓厚的兴趣，喜欢绘画。他曾在德黑兰大学艺术学院学习绘画和平面设计，并于20世纪60年代毕业。在校期间，他开始从事广告业，为伊朗电视台设计海报和制作广告。他还为儿童书籍配图，并设计电影片头，这磨练了他的视觉叙事技巧。

1969年，基亚罗斯塔米被邀请在德黑兰的伊朗青少年智力发展研究所（Kanoon）建立电影部门。这个机会标志着他正式进入电影制作领域。他的第一部短片《面包和胡同》（1970）描绘了一个小男孩对狗的恐惧，其简洁和对童年的深刻洞察力立刻吸引了观众。随后，他又拍摄了《我也能》和《色彩》等短片，进一步探讨了童年和道德主题。这些为年轻观众制作的早期作品，已经展现出他日后职业生涯标志性的人文主义和观察性风格。[编辑]

基亚罗斯塔米凭借《旅人》（1974）一举成名，这是一部关于一个渴望观看足球比赛的男孩的忧郁成长故事。这部电影以及《报告》（1977）使他成为伊朗电影界的重要声音。然而，真正让他获得国际声誉的是《科克尔三部曲》。《我的朋友的家？》（1987）、《生活，万物皆无……》（1992）和《橄榄树下的情人》（1994）都设定在科克尔的乡村地区，将虚构与纪录片式的现实主义相结合。这些因其人文主义和形式创新而受到赞誉的电影，在世界各大电影节上放映。

1997年，《樱桃的滋味》荣获戛纳金棕榈奖，使基亚罗斯塔米成为首位获得此殊荣的伊朗电影人。这部关于一个考虑自杀的男人的电影，因其哲学深度和极简主义手法而受到赞誉。他继续挑战界限，拍摄了《特写》（1990），这是一部关于一个冒充著名导演的男人的伪纪录片；以及《风会载着我们走》（1999），该片获得了威尼斯电影节评委会大奖。在21世纪初，他通过《十》（2002）和《非洲ABC》（2001）拥抱了数字电影制作。他的国际化阶段始于《合法副本》（2010），由朱丽叶·比诺什主演，以及设定在日本的《像恋人一样》（2012）。在他去世时，他正准备在中国拍摄一部电影，他的遗作《二十四帧》于2017年在戛纳首映。[编辑]

在伊朗和国际上，基亚罗斯塔米都被视为一位深思熟虑、富有智慧的人物。他以其温和的举止和对电影的哲学思考方法而闻名。评论家称赞他能够从日常生活中发掘深刻的意义，他的电影常被形容为“诗意”和“冥想”。他是伊朗新浪潮的重要人物，将伊朗电影推向了全球视野。影迷们欣赏他独特的视觉风格，其特点是长镜头、固定镜头和对风景的关注。他还因其教学而受到尊敬，他曾指导过许多年轻的电影制作人。基亚罗斯塔米在大众心目中是一位保持谦逊、专注于艺术的大师。[编辑]

Abbas Kiarostami commanded a global audience that extended far beyond the borders of his native Iran, establishing a legacy defined by critical reverence rather than mass-market ubiquity. His enduring influence is quantified in the iFANN Global Fame Rankings, which place him as the 17th most famous person from Iran, a standing he has maintained steadily since the previous measurement cycle. This specific positioning reflects a consistent level of international attention tracked across media coverage and consumption signals worldwide, underscoring his status as a pivotal figure in world cinema. While his work resonates deeply with cinephiles and scholars, his fanbase lacks a formal organizational structure or a distinct collective name. Unlike modern celebrities who cultivate organized communities, Kiarostami's admirers are primarily film students, academics, and critics who engage with his output through curated retrospectives and academic study rather than grassroots campaigns. He remained famously private throughout his life, rarely engaging with red-carpet culture or direct fan interactions, which further insulated his legend from the mechanics of traditional celebrity worship. The absence of an official fandom name mirrors his own artistic philosophy: a focus on the work itself over the personality of the creator. Today, his reputation rests on the quiet authority of films like Close-Up and Taste of Cherry, preserved in institutional archives and streaming collections rather than social media trends.[编辑]

Kiarostami was a prolific poet whose collections often mirrored the themes of nature and mortality found in his films. A keen photographer, he exhibited works internationally that frequently focused on trees and snow. He was known for employing non-professional actors to achieve naturalistic performances and occasionally utilized a single camera setup for entire productions, such as Ten. Beyond his directorial duties, he directed a music video for the Italian singer Gianni Morandi. A central legend surrounding his career involves the film Close-Up, which blurs the line between fiction and reality by reenacting the true story of Hossain Sabzian impersonating Mohsen Makhmalbaf. This meta-cinematic approach became a defining moment where ordinary people demonstrated dramatic power equal to professional performers. Another iconic chapter occurred when Taste of Cherry won the Palme d'Or at Cannes in 1997, a victory that brought Iranian cinema to the forefront of global consciousness after years of isolation. Following his death in 2016, the film industry mourned the loss of a master who continued creating until age 76, leaving behind a body of work celebrated for its humanist gaze and refusal to seek fame.[编辑]

基亚罗斯塔米于1969年至1982年与帕尔文·阿米尔-戈利结婚。他们育有两个孩子，其中包括一个名叫艾哈迈德·基亚罗斯塔米（Ahmad Kiarostami）的儿子，他后来也成为了一名电影制作人。关于他的另一个孩子的信息很少，因为基亚罗斯塔米对个人生活保持隐私。离婚后，他没有再婚。他一生大部分时间居住在德黑兰，但晚年为了接受医疗治疗而住在巴黎。他经常在电影中谈论家庭的重要性，尽管他很少公开谈论自己的家庭。他的儿子艾哈迈德曾协助他完成多个项目，包括遗作《二十四帧》的制作。[编辑]

基亚罗斯塔米曾与儿童和青少年智力发展研究所（Kanoon）有关联，并在那里创立了电影部门。他曾与演员合作，如贝鲁兹·沃苏吉（Behrooz Vossoughi），他出演了《樱桃的滋味》，以及朱丽叶·比诺什（Juliette Binoche），她主演了《合法副本》。他还与伊朗新浪潮电影人合作，包括莫森·马克马尔巴夫（Mohsen Makhmalbaf），他出演了《特写》。基亚罗斯塔米的电影影响了许多国际导演，包括让-吕克·戈达尔（Jean-Luc Godard）和黑泽明（Akira Kurosawa），他们都赞扬了他的电影。他在大学和工作坊任教，指导了一代伊朗电影人。 [编辑]

基亚罗斯塔米于1969年与帕尔文·阿米尔-戈利（Parvin Amir-Gholi）结婚。两人育有两个孩子。他们的婚姻持续到1982年离婚。离婚后，基亚罗斯塔米一直单身，从未再婚。他一直保持个人生活的隐私，没有其他重要关系的记录。他以致力于工作而闻名，他的电影常常反映人际关系的主题，但他很少在采访中谈论自己的感情生活。在他去世时，他是单身。 [编辑]

Official statements released by his family and confirmed by French medical authorities identified a heart attack as the immediate cause of death following treatment for pneumonia. Abbas Kiarostami passed away on July 4, 2016, at the Necker-Enfants Malades Hospital in Paris, France, where he had been hospitalized for several days due to respiratory complications. The reaction to his passing was immediate and global, characterized by tributes from major cinema institutions and peers who recognized his influence on world film. Martin Scorsese, Pedro Almodóvar, and Jean-Luc Godard issued statements praising his contribution to art-house cinema, while the Cannes Film Festival held a moment of silence in honor of the director who won the Palme d'Or in 1997. In Iran, state television acknowledged the loss despite the country's complex relationship with its cultural icons abroad, and fan vigils were held in Tehran where mourners carried his coffin during the funeral procession.

Kiarostami's funeral took place the following day, July 5, 2016, in Tehran, drawing thousands of attendees including fellow filmmakers like Asghar Farhadi before he was laid to rest at Behesht-e Zahra cemetery. His legacy continued through posthumous releases such as the premiere of 24 Frames at Cannes and ongoing restoration projects managed by the Abbas Kiarostami Foundation, which established scholarships to support young Iranian filmmakers. Ahmad Kiarostami has acted as the primary custodian of his father's intellectual property and personal archives, ensuring the preservation of his work without public dispute.[编辑]

Per iFANN's editorial analysis, Abbas Kiarostami's net worth at the time of his death in 2016 was estimated at $10 Million. This sum accumulated through a diverse career spanning filmmaking, poetry, and photography. His income streams included film production fees, distribution deals, and international sales of his works, with titles like Taste of Cherry and Certified Copy achieving notable commercial success within art-house circuits. Additional revenue was generated from published poetry collections, photography exhibitions, and fees for directing commercials and teaching workshops. As of 2026, his estate continues to generate royalties from his film catalog and posthumous releases such as 24 Frames, which premiered at Cannes in 2017. Managed by his heirs, the estate has seen steady income from licensing his films for streaming platforms and hosting retrospectives. The legacy value of his work is further supported by the production of documentaries regarding his life and contributions to cinema.[编辑]

阿巴斯·基亚罗斯塔米在其职业生涯中赢得了众多享有盛誉的奖项。他最显著的成就是凭借《樱桃的滋味》于1997年在戛纳电影节上获得金棕榈奖。他还因《风会载着我们来》于1999年在威尼斯电影节上获得评审团大奖。2000年，他被授予黑泽明奖，以表彰他在导演方面的终身成就，他慷慨地将此奖颁给了演员贝赫鲁兹·沃苏吉。他的电影在国际电影节上屡获殊荣，他被誉为最有获奖的伊朗电影制作人之一。[编辑]