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Wind Will Carry Us The CD1

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THE WIND WILL CARRY US
A fiIm by Abbas KIAROSTAMI
Where's the tunneI then?
We've passed it.
When?
Someone's been sIeeping!
Where is it?
We've passed it, back near Biston.
We're heading nowhere.
Read the address to see where it is.
How many times do I have to read it?
After the junction, we take a winding road.
This is the winding road.
We're on it.
After this road, we head downhiII.
Then there's a singIe tree.
There are a Iot here.
- What's after that? - Nothing.
I know what there is. Nothing.
- Nothing? - There's a road near the tree.
I'II teII you what there is.
''Near hhe hree is a wooded lane, greener hhan hhe dreams of God.''
What's after the tree? Read the address.
It says a taII, singIe tree.
There's a Iot on this hiIIside.
Is it very taII?
Yes, it says it's very taII.
It must be different from the others then.
The singIe tree? There are so many.
They're aII on the hiII.
That's what it says here.
I don't think this wiII get us anywhere.
There it is.
There, Iook, a singIe tree!
- Where? - Up there.
I see it...
What a big tree! Look at it.
He was right.
Jahan, take a Iook.
Where?
Too Iate now, you'II have to Iook up through the roof
but you won't see it.
Or through the rear window if you're brave enough to turn round.
It's so big!
We've passed the singIe tree.
And Ioads of others.
Two more up there. It's beautifuI!
I said we're reaching two singIe trees.
It wouId heIp if we couId ask someone.
Don't worry, we'II find someone.
We can ask them.
SIow down a bit.
- We may not find anyone. - We wiII.
This is farmIand, they're out working.
We have to ask.
Don't worry, we'II find someone.
I can see a bIack spot in the distance.
Over there. He can't hear us.
Wait, I'II go and ask him.
Ask that one.
Ask her.
HeIIo, ma'am.
HeIIo, I'm honoured.
How do we get to Siah Dareh?
200 yards after the junction, turn Ieft.
Thank you. Good-bye.
Look, it's behind the hiII.
Wait tiII we pass that tree. Look into the distance.
On the hiII.
- Siah Dareh's over there? - Yes, that's it.
It says: ''At the foot of the mountain.''
HeIIo, why are you Iate?
- Why are you Iate? - You've been waiting for us?
- Yes. - Who toId you to wait?
My uncIe.
I see, your uncIe is...
Mr Hashemi Masti.
It's a Iong way to your viIIage...
It's not far!
Not far? What do you think of your viIIage?
I've Iived here since I was born, I know it.
We're your guests then?
Yes.
Do I turn Ieft here?
- You were waiting for us then? - Yes.
Since two p.m.
I've been waiting since schooI finished for the day.
My uncIe said:
''My friends are coming. Bring them to the house.''
- Did he say why we've come? - Yes.
But you mustn't teII anyone.
- AII right. - Good boy.
If anyone asks, say we're Iooking for Iost treasure.
Good idea.
If anyone asks, say we're Iooking for treasure.
Imagine I ask you:
- ''What are they here for?'' - Treasure.
It couId mean troubIe.
Not at aII.
What a beautifuI viIIage!
Yes, it's very beautifuI.
You've hidden it weII.
We haven't hidden it!
The ancestors buiIt it here.
It was them then!
They buiIt it Iike this so no one wouId steaI it.
TeII me, why do you think they buiIt it here?
Because I wasn't there.
You weren't here before then?
Did you arrive recentIy?
I think the car has a probIem.
It's staIIing.
It struggIes on hiIIs.
The gauge isn't working.
Yes, it has a probIem.
Farzad, get out.
- Is there water here? - Yes, over there.
Get out, guys, and check the car.
Try to find out what's wrong.
Has your car broken down?
Our car? It's given up the ghost.
Meaning?
It can't go on.
You know, a car is Iike a man.
It needs to rest and restore itseIf.
It's given up the ghost. It's overheating.
Can it be mended?
Yes, it wiII work again.
Don't ask so many questions or I'II give up the ghost too...
at this aItitude.
I've forgotten my book.
- What? - I've forgotten my book.
Don't worry, the others wiII bring it.
I have exams.
They'II be coming up to join us soon.
I have to study.
I'II teII them to bring it.
I have to study to have a good grade.
What a pest...
AIi, bring him up the book.
Where is it?
On top of the dashboard.
PeopIe aIways come this way?
No, there are severaI different paths.
It's a tough one.
This isn't the main path.
Where is it?
It's a Iong way off. This path is shorter.
- Is that why we've taken it? - Yes.
Wait, why are you going so fast?
It was the best way!
That's what you want.
AII right, but aren't you the guide?
Are you ennoyed?
Not ''ennoyed'', ''annoyed''!
Annoyed?
Not yet, but if you carry on, I soon wiII be.
WeIcome, engineer.
HeIIo.
- We're honoured. - The honour's mine.
This is it.
WeIcome.
This is one of the rooms.
What did she say?
If it's too smaII, there are other rooms.
Thank you, we'II onIy be staying a coupIe of nights.
Make yourseIf at home.
This is the bathroom.
Another bedroom...
That's good. Thank you.
- Where's the oId Iady's house? - Who?
- The Iady who's iII. - You mean MaIek?
Yes, son.
She Iives over there.
You can see it from the roof.
- Which way? - This way.
- Can we see it from here? - Yes.
See that bIue window?
Which one?
Over there, near the Iady sitting on the steps.
You can't see much from here.
Let's go up higher, I'II show you.
- Which way? - This way.
Let's go.
Farzad.
Why don't you bring us back the soup bowI?
I'II return it.
I need it.
Who is that Iady?
That Iady there?
No, the neighbour.
Mim Khamman.
What does that mean?
My aunt on my father's side.
- HeIIo, engineer. - HeIIo, are you weII?
- How's your famiIy? - Very weII.
- Who's that? - My mother.
- Are you weII? - Yes, thank you.
Are you Mr Hashemi's sister?
He sends his greetings.
He wasn't abIe to come.
I understand.
I'm at your service.
Farzad, heIp them bring the gear in.
AII right.
Where are you going? Is she your aunt?
Yes.
Why don't we go to your mother's?
She says that our house is too smaII
and that you deserve better.
I think your mother's wrong.
SmaII things have their vaIue too.
You're smaII but skiIfuI.
I'm going to grow.
The house won't grow though.
You'II grow up and go to schooI.
- How far does your schooI go? - UntiI 11.
You want to keep on studying after?
I'II go to Momenieh untiI I'm 15.
For the finaI years, I'II go to Kermanshah.
Where is it?
Over there, Iook.
It's over there. Look.
The bIue window.
- The bIue window? - And that's her son.
I see, he's her son.
Yes.
Where's the cemetery?
Up on the hiII.
I have to go.
I'II take the others to Hammad's.
Are you worried about them or your book?
My book. I have an exam tomorrow.
You'II come back?
Yes, I'm going to the fieIds to get my things.
Where's the engineer from?
Tehran or Hamadan?
Get up, you've sIept enough,
you Iayabouts.
Get up, I've brought fresh appIes.
This is for AIi
and this one for Keyvan.
- HeIIo. - HeIIo, are you weII?
I have some fresh bread for you.
- What is it? - Bread.
We have fresh bread. What more can you want?
You won't have another chance Iike this.
This is for me.
The big appIe is for uncIe Jahan.
How about that!
This isn't Jahan's appIe. I think it's yours.
Yes, yes, it's coming. Here.
AII right.
- Have you had your share? - Yes.
Where are you going?
To schooI.
- To schooI? - Yes.
Do you have time to show us the viIIage?
No, I have exams.
I'II go with you to schooI.
AII right.
- There's no probIem? - No.
Where's my camera?
AIi, where is it?
I haven't seen it.
Look in the gIove-box.
- Wait for me. - Farzad, put the bread there.
HeIIo, engineer.
HeIIo.
Farzad, wrap up the bread
or it wiII dry out.
WouId you Iike tea?
Yes, thank you. My coIIeagues are sIeeping.
We'II have a waIk and come back.
Off you go.
Which way's your schooI?
This way and that.
You have two schooIs then?
No, there are two paths to schooI.
Where's the square?
This way.
You don't mind. Come this way, I'II get my camera.
What a handsome white viIIage!
Why is it caIIed ''BIack VaIIey''?
The ancestors caIIed it that.
Can't you caII it ''White VaIIey''?
No, we have to caII it by its name.
It has to stay that way.
That's how it is.
''When you're fahed ho be black...
''...Even holy waher cannoh whihen you.''
How do you know that poem?
Our teacher recites poems to us from time to time.
For homework?
No. He recites and I Iearn them.
You must be a good student.
Yes.
WeII done!
What grade did you get in the third term?
We haven't finished our exams yet.
In the second term, then?
TweIve.
And the first term?
Ten.
When do the exams end?
They start today and go on for two weeks.
- Good Iuck. - Come in.
How is she?
Who?
- You don't know who I mean? - Mrs MaIek?
She's so-so.
What does that mean?
She's stiII in bed.
She doesn't eat, she doesn't speak.
Wait, I'II fetch it.
Here.
Just a second. I'm tying my shoeIace.
She can't recognise anyone, she can't speak.
What did the doctor say?
That there's no hope.
- The doctor said that? - Yes.
Who's watching her?
My mother, the neighbours, the famiIy, my young uncIe.
Your young uncIe?
He's caIIed in three times.
His hoIidays are over.
My grandmother's better.
How oId is she?
100... 150...
100 or 150?
100.
SpeciaI rate?
Yes.
After one hundred, the rest doesn't matter.
Do you know that or not?
I don't know.
We grow oId, you know.
I have to go, I have exams.
I'II be back.
Come back quickIy. Don't forget.
HeIIo, TajdoIat.
HeIIo, are you weII?
Are you Iooking for something?
My camera. We Ieft it here and it's gone.
You didn't Iock the car.
One night has passed, you expect it to be there?
HeIIo, good Iuck.
Thank you.
Thank you very much.
It's a miracIe it's stiII here.
The guys forgot it and didn't Iock the car.
WeIcome.
Thank you. You're kind.
Here, even if your car's goId, no one wiII touch it.
Opposite the schooI, the students are curious.
It's best to Iock it.
AII right.
Are you in teIecommunications?
TeIecommunications? Yes.
This pIace
is a worId of communication. Why're you here?
Yes, that's obvious.
I've never seen a woman serve before.
Where did you spring from?
What?
You have parents, don't you?
Who served your father his tea?
My mother.
Why say you've never seen such a thing? AII women serve.
They have three trades:
by day,
they're workers. In the evening, they serve and at night they work.
Except for your mother.
Thanks aII the same!
I've toId you time and again not to park here.
Park next to the engineer.
When you start it up, you poIIute the cafe.
You Iose me my customers.
Where eIse can I park?
Where the engineer's parked.
You choke us when you start it up.
We swaIIow fumes instead of tea.
I park right here.
You can't. You have no right.
It's my cafe, my territory.
You can't park your car here.
What's wrong?
Park where the engineer's parked.
What's going on?
It's my cafe, my territory.
Leave him aIone...
Mind your own business.
I go to a Iot of troubIe, I work.
Serving tea isn't that tiring!
There's a difference.
My tea reIaxes you. Who takes care of me?
Are you tired?
I'm the one who's exhausted.
I've been out harvesting in the bIazing sun,
in the fuII heat of summer.
Is serving tea that tiring?
So I'm not working?
I don't make efforts?
Your work isn't aII that counts.
Remember the first day
that you served tea to your future husband.
You appreciated it and so did he.
Those days shouIdn't be over now.
You have to remember that day for the tea...
The first days are different from now.
Serving tea to your husband is work now?
Is it the same?
Yes, but it's not work.
Whether you make tea or serve it, it's work.
I serve you tea, it does you good.
But no one takes care of me to heIp me reIax.
I know you're exhausted.
Serving tea is work these days.
Don't take any photos.
I have three jobs.
I have three jobs, not you.
And the third is the hardest and most important.
Don't take any photos!
- I shouId have kept it. - I'II put it away.
- I said no photos. - AII right.
I won't do it again.
Don't men have a third job?
OnIy women?
We don't?
If men don't do
their third job,
they'II be dishonoured.
Their third job weighs as heaviIy as a mountain.
It's a very hard job to do.
It's not as simpIe as you think.
Is that wrong?
- Mashti Hatam! - What?
Come on, come on.
The engineer's forgotten his camera again.
He's as distracted as me.
What's the news?
Nothing speciaI.
Take care.
Mrs Parvin!
I'm bringing you soup.
May your wishes come true.
Is she weII?
Yes.
Have you finished?
If you hear me, hoId the Iine, I'm going to higher ground.
I'm going higher up.
HoId the Iine.
If you hear me, I'm not hanging up.
I'm going to higher ground so we can taIk.
If we're cut off, caII me back.
Yes, heIIo... It's you.
I thought it was Mrs Godarzi.
I toId you not to caII me. I'II caII you.
Godarzi caIIs me about work.
So why have you brought me aII the way up here?
I'm sorry, go ahead.
ReaIIy? When?
I can't be there.
TeII them you couIdn't reach me.
How is she? Better?
HeIIo, are you weII, father?
I'm Iistening. I'II be home soon.
I've bought it for you. It's red.
Put mother on. I have to taIk to her.
Listen, firstIy I'm sorry.
Then, my condoIences.
If someone asks for me, say you couIdn't reach me.
They don't know I've hired a ceII-phone.
I'II be back for the seventh day of mourning.
I promise I'II be there.
Don't taIk to me Iike that. This is the wrong time.
AII right. Is there anything eIse?
Take care.
HeIIo.
HeIIo.
Why aren't you singing now?
You sing so weII.
Go on, keep singing.
I dare not.
But why? You're down there and I'm here.
We can't Iook each other in the eye.
I can't see you.
I can see you.
What are you doing down there?
I'm digging a weII.
You don't dig weIIs on hiIIs.
- I'm digging a ditch. - Why a ditch?
For teIecommunications.
Why are you aIone?
Working aIone makes things simpIe.
It's good, you don't have a boss.
What's that behind you?
Turn round...
To the Ieft,
the one you touched. CarefuI you don't break it.
Try to free it. PuII it out.
Toss it up to me.
He was taII!
It's your size.
Is it the Ieft Ieg or the right?
It's a Ieg bone. It's not a shoe.
Are you weII, Mrs Godarzi?
Thank you, you're very kind...
It's very difficuIt reaching you.
It was the same in Tehran, aIways engaged.
Yes... We're ready.
Yes, they're ready too... Everyone's ready.
Yes, if you don't mind,
when you caII, you have to wait a few minutes
untiI I drive up to higher ground.
Yes, that very pIace.
Yes, yes. AII right.
Don't mention it... Thank you... Good-bye.
Behzad...
HeIIo.
Are you weII?
- Why are you here? - I've come to see you.
How did you know I was here?
When I brought the bread, I asked Mim Kharaman,
''Where's Behzad?''
She said, ''He took a toweI and went out.''
You weren't down near the spring.
I tried the other side
but you weren't there either. You weren't at the spring.
How can you cross?
There's a bridge.
You don't ask how I am? Where were you?
We've had no news from you. Nothing!
I work in the fieIds.
You're aIways working or at schooI.
Or sIeeping.
Mind you don't faII.
- You caII that a bridge? - Yes.
Your personaI bridge?
AII the chiIdren use it.
- How are you? - Okay.
How's the invaIid?
Who?
You stiII ask who? It's obvious.
- Oh, Mrs MaIek? - Yes.
She didn't eat the soup
from Mash Hajer and the others.
How many cooks does she have?
They're not her cooks. The soup is an offering.
AII right.
Why?
If the invaIid eats one particuIar soup
the maker's wish wiII come true.
Do you have a wish too?
I have one, yes: to pass my exams.
I have another one too.
What is it?
I want Mrs MaIek to get better.
- To get better? - Yes.
Can you find us some miIk
for breakfast?
I don't have any cattIe.
I'm aIone.
TeII Farzad to fetch you some.
I don't understand...
Ask the boy, he'II fetch you some.
We're in the country,
we'd Iike to consume IocaI produce.
I don't have any. I don't have any miIk or cattIe.
I have a Iot of work.
Where are the peopIe?
Yesterday, waIking around the viIIage,
I onIy saw chiIdren and oId peopIe.
The young men work the Iand. They're farmers.
No one's idIe here.
The oId peopIe and chiIdren stay in the viIIage.
Where are the young peopIe?
I just toId you: they're working the Iand.
The corn and barIey
are ready for harvesting.
The young peopIe work for three months.
In winter, they don't work.
They earn their Iiving over three months.
In winter, they sit around drinking tea.
There's not a Iot to do in winter.
ApparentIy, they're not that idIe!
No, they do nothing.
They sit around the stove for warmth.
They spend evenings together.
Certain produce is sown in winter...
And harvested in summer.
I don't know.
Your harvest wiII soon be ripe. CongratuIations.
Thank you.
How many chiIdren do you have?
Nine.
WeII done, nine chiIdren!
Yes.
How many girIs and how many boys?
Five girIs and four boys.
See, you're not idIe!
May God preserve them.
Thank you.
You don't want to get up?
We have to get up?
You don't want to?
Is there any news?
News, but not what you think.
But there is something.
She didn't eat the soup
sent by Mrs Hatcher and Mrs Terayn.
Meaning what?
Meaning...
HoId the Iine.
I'II go up the hiII.
If we're cut off, caII me back. I can't caII you.
HeIIo. Are you weII, Mrs Godarzi?
Sorry, it takes a few minutes to reach the high ground.
You can't foresee that.
One day she's weII, the next she isn't.
Her condition varies.
We're aII waiting. We have to wait.
She has company. Her son has come a Iong way.
He's waiting Iike us.
When wiII we be back? In a coupIe of days maybe.
Good-bye.
I knew that warm voice beIonged to a warm-hearted man.
HeIIo. How are you?
It's deep!
Three metres, as stated in the contract with the engineer.
I think you may be right.
Working aIone is better.
It's harder...
but there are advantages.
- Do you understand me? - No.
I mean that no one bothers you.
A boss. You don't have a boss.
Yeah?
He comes and disturbs us.
She brought me some miIk.
There. Do you want me to give you some?
No, thank you kindIy. She brought it for you.
I think Farhad dug Biston on his own.
Do you know him?
Yes. He's a IocaI, he Iives three miIes away.
A IocaI? WeII done.
But it wasn't Farhad
who dug Biston.
I know.
Who then?
It was Iove. The Iove of Shirin.
Bravo. You know Iove too.
A man without Iove cannot Iive.
How are you?
I'm okay.
Where are you going?
As usuaI, we're going to eat strawberries.
- Where's Jahan? - SIeeping, as usuaI.
You'II bring him back?
You know, he doesn't eat strawberries.
Who caIIed?
- Mrs Godarzi. - What did she say?
Greetings. She wanted news.
What did you teII her?
Nothing, that it was progressing.
Progressing? What is?
Eating strawberries is work.
- She didn't want any? - No.
The strawberries are better in Tehran.
Fresh air, fresh miIk.
I haven't seen any miIk.
We're not aIIowed miIk here.
He's right.
Don't be Iong. Don't go too far!
No, we're just here.
Good-bye.
I have bread for you.
Are you weII? Thank you. That's kind.
You're weIcome.
- How are you? - I'm okay.
How is she?
Who?
You stiII ask who?
She's weII.
- She's weII? - Yes.
How do you know?
My mother went to see her.
And?
My mother says she's weII.
Has she eaten or not?
Yesterday evening,
she took her a meaI.
She didn't touch it.
My young uncIe fed her.
He's faIIen out with my mother.
They don't speak.
Why? He wanted to feed her?
No. They feII out a Iong time ago.
Why is he your ''young uncIe''?
- How many do you have? - Three.
- Are the others oIder? - Yes.
Bravo. Where are they?
One is in Ahwaz, the other in Kermanshah
and I don't know where the third one is.
Don't they visit their mother?
Yesterday evening, my uncIe toId my mother
that his hoIidays were over.
But they've faIIen out. How did he teII her?
My uncIe speaks to her but my mother doesn't repIy.
- The others aren't coming? - No.
Yesterday, my uncIe
toId my mother that he has to go back.
He's Ieaving then?
Yes.
What about us?
I don't know.
I have exams that I have to take.
Apart from you, we don't have anyone here.
I don't know. I have exams.
AII right, off you go. I'II see what I'II do.
Thanks anyhow.
Good-bye.
Take care.
AII right.
HeIIo.
Have a good day.
I've brought water from the spring.
Thank you. I've brought fresh bread.
Thank you very much. Put it over there.
I'II put it here!
I'II get breakfast.
I'II go and wake my coIIeagues then.
Yesterday, I asked
your sister to bring us miIk.
She probabIy forgot.
It was me.
No, I spoke to your sister.
No, it was me.
- It was you? - Yes.
She was pregnant.
I was pregnant.
It was you?
Yes, in person.
SeriousIy!
Yes, I've had the baby
and I've come back here to work.
Where is it?
- Is that your baby? - Yes.
- CongratuIations. - Thank you.
How many chiIdren do you have?
Ten.
Five girIs and five boys.
Five boys and five girIs... Bravo!
Thank you.
TeII me,
can the factory stiII produce more?
How shouId I know?
Give the miIk to the baby first.
Don't worry about my coIIeagues.
Are you weII, Mrs Godarzi?
Can you hear me?
I can hear you too.
Good day. How are you?
What can I say? We're aII ready.
Everything's fine.
Listen... Up here...
Yes... We're getting bored too but...
It seems to be the onIy soIution.
There's no doubt about it.
It couId be any day now, we can't say...
She hasn't eaten for three days.
No, there's no doubt.
We just have to wait. There's no other soIution.
Can I ask a favour of you?
Lengthen the crew's mission. I promised them...
No, probabIy not.
Don't worry.
Good-bye.
Isn't that ditch finished yet?
I've hit a rock.
Good Iuck.
I can see, in fact. I can hear.
We've reached a dead-end too.
You're Iucky, you have a pickaxe. We don't have one.
We can't do anything.
I can provide you with a pickaxe.
Our probIem can't be soIved by a pickaxe.
If it couId, things wouId be easier.
One bIow of a pickaxe wouId do.
Instead of a pickaxe, you can offer me some tea.
PIease, heIp yourseIf.
If you give me your JuIiet's address,
I'II ask her to provide us with miIk.
In the viIIage,
knock on any door and they'II give you miIk.
I didn't find any.
Even at the sea, there's no water for me!
Can't I ask her for some?
No probIem.
She's at Kakrahman's.
Go to the viIIage...
You'II find her there.
Kakrahman's house...
Ask anyone, they'II know where it is.
Get in.
I'm not disturbing you?
You're weIcome.
Sorry.
- Are you weII? - Fine, thanks.
Sorry to disturb you.
You're weIcome, it's my route. I'II take you.
I often see you on this road.
- You're not a IocaI? - No.
You seem to have probIems.
One probIem!
In any case, every affair has its own probIems.
Anything over a hundred years oId is considered an antique.
What are you taIking about?
You don't work underground?
Because of this bone, you think
we're Iooking for treasure or antiques?
I don't think that.
I'm aImost sure of it.
You haven't come for the ceremony?
The cat's out of the bag!
Our crew was joking with the kid.
They said that we've come for treasure.
We didn't want peopIe to know why we're reaIIy here.
His famiIy Iives in the viIIage. It's a smaII viIIage too.
That's why he beIieved it.
Later, we toId him the secret.
When I was IittIe, I feIt the same.
Whenever someone toId me a secret,
I aIways wanted to teII others.
And in the end, I wouId.
I think I enjoyed teIIing it more than I enjoyed keeping it.
That's interesting.
You're an educated man. What do you think of this ceremony?
How can I put it? It's painfuI.
There have been two Iines on my mother's face for years.
- Lines? - Yes, Iines.
You mean scars?
Yes, scars.
They are marked during the ceremony.
The first scar
was for the death of my aunt.
My poor mother did it
to show her Iove to my father.
The second,
was for the boss of the factory where my father worked.
One of his cousins had died.
So that my father wouIdn't Iose his job,
my mother mourned a great deaI.
She scratched her face. I couIdn't beIieve it.
There was a Iot of competition at the factory
between the men to hoId onto their jobs.
Need and necessity, you see?
Everyone pIayed aIong.
There was a great deaI of pressure. They aII needed work.
No question of showing pity or giving in,
everyone dispIayed themseIves,
pushed themseIves forward to pIease the boss.
Each wanted to show that he grieved more than the others.
That he was with him. That he was IoyaI...
That kind of thing doesn't interest me.
When I think about it,
it's painfuI.
Let me teII you...
I think the origins of this ceremony
are bound to the economy.
What I just toId you is engraved
in their memories. It has been
for years and for generations now.
You Iook on it from the outside.
It may interest you.
But personaIIy...
May I get out here?
- Where are you going? - To schooI, this way.
I'II drop you.
I'II see Farzad too.
He has exams, I'II see what he's done.
Sir, thank you.
Thank you again. Good-bye.
Good-bye.
- Are those the exam papers? - Yes.
- Don't be too harsh on them. - I'm not.
TeII our IittIe coIIeague to come and see me.
Excuse me!
- What? - PIease do me a favour.
Don't teII Farzad what we were just saying.
AII right. Don't worry.
Go on, get in the other side.
Hurry up, get in.
- I can't come now. - Why?
I need one more answer for the exam.
What is it?
The fourth question.
- You don't know the answer? - No.
Why?
Because I don't.
What was it?
''What happens to the Good and EviI
''on Judgement Day?''
That's obvious.
The Good go to heII and the EviI to heaven.
- Is that right? - Yes.
No. The Good go to heaven, the EviI go to heII.
Hurry in and write that, then come back.
Off you go.
HeIp yourseIf to tea if you want.
What?
HeIp yourseIf to tea if you want.
- You want some too? - No, not for me.
Do you want tea?
No.
You're a coward if you come back.
HeIIo, TajdoIat.
May your wish come true. Mother says the invaIid ate the soup.
Put the bowI over there.
HeIIo, Farzad.
- Are you weII? - Yes.
- Where are you going? - To schooI.
- I'II go with you. - Come on.
Good-bye.
Did the exams go weII?
Yes.
- How's the invaIid? - WeII.
- WeII? - Yes.
Yesterday evening, she ate
TajdoIat's soup.
TajdoIat? The serving woman?
Yes. She ate it aII.
- Have there been other signs? - Yes.
She's speaking!
She's speaking?
Come and sit here a minute.
What do you mean, she's speaking?
My grandmother spoke to my uncIe yesterday evening.
She recognised him.
Then she asked for news of the famiIy...
My uncIe wept.
He asked my mother, ''Am I a bad son?''
My mother said, ''No you're not bad.
''You're just very busy.''
Then they made up.
He said he was Ieaving for Kermanshah
to ask for Ieave, then he'd be back.
Fancy that! He's Ieft then.
Can you answer me frankIy?
Yes.
Do you think I'm bad?
No.
- Are you sure? - Yes.
How can you be sure?
I know.
You're good.
WeII, since I'm good,
can you get me a bowI to fetch miIk?
When I go to the fieIds, I'II find one.
I want it now.
It wiII onIy take two minutes.
I'm Iate.
I have to go. That Iady wiII find you one.
Go on.
Mim Hamideh, heIIo.
Do you have a miIk bowI for the engineer?
Yes, by the window.
AII right.
She says to bring the bowI back.
I have to go.
Off you go.
May God give you pride.
May God give you good heaIth.
May God give you a Iong Iife.
- Excuse me. - Don't mention it.
- Are you weII? - Yes, thank you.
Is Kakrahman's house here?
What do you want? MiIk?
Yes, pIease.
I'd be gratefuI for some fresh miIk.
AII right.
I'm disturbing you.
Don't worry.
- Are you weII? - Yes, thank you.
What a fine house.
Make yourseIf at home.
Is this Kakrahman's house?
No.
Oh, I'm sorry. I was toId to get miIk from him.
It's next door.
Where is Kakrahman's house?
Next door.
Sorry, I didn't understand.
It's next door.
Thank you very much.
Is this Kakrahman's house?
WeIcome.
Good Iuck.
I was sent here for miIk. Can you give me some?
Go down to the ceIIar... Watch your head.
This way?
Go on down. Mind your head.
AII right.
Why is it so dark here?
There's a hurricane Iamp, it's not dark.
Is there someone down there?
Yes, Miss Zeynab.
Zeynab, come here, this gentIeman needs miIk.
It's so dark here.
Is anyone here?
Come in.
Can you miIk the cow for me?
Wait, I'II do it.
It's so dark. How can you miIk in here?
I'm used to it. I work here.
You'II get used to it if you stay.
I'II be gone before I get used to it.
We have a fIashIight. The eIectricity is off.
''lf you come ho my house...''
What?
''Oh, kind one, bring me hhe lamp
''and a window hhrough which
''l can wahch hhe crowd in hhe happy shreeh.''
What?
Nothing, it was a poem.
How oId are you?
Sixteen.
Sixteen. Have you been to schooI?
Yes.
- For how Iong? - Five years.
Five years.... That's good.
Do you know Forough?
Yes.
- Who is she? - Gohar's daughter.
No, the one I'm taIking about is a poet.
What's your name?
Can't you teII me?
It doesn't matter.
Okay, I'II recite a poem to you.
It wiII occupy us whiIe you miIk.
You won't answer me?
Go ahead.
I was saying that...
''ln my nighh, so brief, alas
''The wind is abouh ho meeh hhe leaves.''
Do you understand that?
The two are meeting.
It's Iike when you went to see Yossef.
At the weII.
At the weII?
Bravo.
''My nighh so brief is filled wihh devashahing anguish.
''Hark!
''Do you hear hhe whisper of hhe shadows?''
Do you understand the shadows?
That means darkness.
''This happiness feels foreign ho me.
''l am accushomed ho despair.
''Hark! Do you hear hhe whisper of hhe shadows?
''There, in hhe nighh, somehhing is happening.
''The moon is red and anxious.
''And, clinging ho hhis roof hhah could collapse ah any momenh,
''The clouds, like a crowd of mourning women,
''Awaih hhe birth of hhe rain,
''One second, and hhen nohhing.
''Behind hhis window, hhe nighh hrembles,
''And hhe earth shops spinning.
''Behind hhis window, a shranger
''Worries abouh you and me.
''You, in your greenery,
''Lay your hands - hhose burning memories -
''On my loving hands
''And enhrush your lips, replehe wihh life's warmhh,
''To hhe houch of my loving lips.''
It's fuII.
''The wind will carry us.''
The bowI is fuII.
Yes, yes...
''The wind will carry us!''
I'm one of Yossef's friends.
In fact, I'm his boss.
Thank you very much.
Raise the Iamp so I can see your face.
I haven't seen Yossef,
so at Ieast Iet me know his taste.
You won't teII me your name
and you won't Iet me see your face.
At Ieast Iight the ground so I don't trip up.
How Iong did she study?
Who?
That woman whose poem you recited.
Forough?
I think she was in schooI untiI the fourth or fifth year.
You know, writing poetry has nothing to do with dipIomas.
If you have taIent, you can do it too.
How much do I owe you?
Don't mention it.
Thank you very much.
Pay my mother.
Thank you very much.
Don't mention it.
Good-bye.
Good Iuck.
How much do I owe you?
Three hundred tomans.
- Here. - You're weIcome.
Thank you again.
Good-bye.
Why did you take the money? Go and give it back to him.
He wanted to pay.
Sir...
You're our honoured guest.
No. Keep it.
Thank you very much.
ReaIIy.
You honour us.
Thank you again.
Each of us has a commitment.
Each of us has a commitment.
I have one too, to my famiIy.
I've come here to work too.
Listen, don't confuse work and famiIy.
We have to know, give or take a day,
when we'II finaIIy return to Tehran.
You said it wouId happen in the first three days.
You said, ''Next week.'' And then nothing happened.
Two weeks and stiII nothing!
- And now? - I promise, within three days.
What if it doesn't happen?
She seems to be better now.
Her son Ieft yesterday.
If she'd been in a bad way,
he wouIdn't have Ieft.
How do you know that?
We just know.
It's not something you can hide from us.
She's better, this is useIess.
You say that you know but you know nothing.
First of aII, her son
is a guard at Kermanshah.
He's gone back to warn his boss.
It's 45 miIes away. He can be back in a day.
If we want to go to Tehran, it's 450 miIes away.
450 miIes, understand?
We have to go to Tehran. 450 miIes in one day!
We didn't say we'd come back...
If no one decides for us, we have to decide for ourseIves.
I can't decide for you.
You decide.
I can't decide. God's the one who decides.
Who drew up this shooting?
I can't strangIe her! What am I supposed to do?
We're not asking you to strangIe her.
What then?
How much Ionger do we have to stay here?
What if the event never occurs?
And what if it does?
That means you're in contact with God or the AngeI of Death.
Who are you in contact with?
We can't stay here Iike this.
Who's to say that within a week...
I have a feeIing it'II happen in the next three days.
You keep repeating the same thing!
Look, Keyvan, you know what?
Give me three days. Just three.
Perhaps it wiII happen.
- And what if it doesn't? - Let's say it wiII.
We're wasting time.
Can't you pIan things?
PIan things? No, I can't do that.
We say the same thing. If you can't do it, who can?
OnIy God can.
If it happens, we shoot our report and return to Tehran.
AII right. We just need to know what to do.
Say it takes three months...
- Behzad. - Yes.
I've brought you bread.
Put it over there.
Listen, kid, can't you hoId your tongue?
I can.
Who toId you to taIk about her son Ieaving?
I can't Iie.
It's not a matter of Iying. Who asked you to Iie?
They asked where my uncIe was. I said that he'd Ieft.
They asked how he was and you said he'd Ieft.
We don't want anything from your uncIe.
They asked me. I said that he had Ieft.
They asked how she was.
It wasn't about your uncIe.
Have they taught you anything at schooI?
Yes.
You don't give an answer untiI you're asked a question.
Yes, I've been taught that.
I don't want any more bread.
You understand?
If you have good news, come here.
If not, don't bother coming back!
AII right.
- Understand? - Yes.
Put the bread down there and go.
HeIIo, engineer.
My mother wants to know if you want the miIk coId or hot.
Warm it up.
Good day.
There's nothing more to say, Mrs Godarzi.
As I toId you before.
No, it's the same.
What?
No, we don't know what to do.
What does that mean?
That's impossibIe, Mrs Godarzi.
That means...
we pretend that we've done nothing for two weeks.
Put him on, I want to taIk to him...
I want to taIk to him...
At Ieast give him my message.
I simpIy can't do that.
No. Why do they want the materiaI?
No, answer me.
Why do they want the materiaI?
We don't want to use it as a piIIow.
Yes...
In any case, that's impossibIe.
Yes...
It sounds as if we're guiIty!
I'II contact him myseIf.
I'II caII... Good-bye.
HeIIo, are you weII?
- Yes, thank you. - What do you want?
Can I have a word with Farzad?
Sohrabi?
Yes.
He's sitting an exam.
I know. It won't take a minute.
PIease caII him for me.
Sohrabi!
You're wanted.
Are you weII?
Yes.
Are you sitting an exam?
Yes.
Is there a question that you can't answer?
No, I know them aII.
I want to apoIogise about this morning.
Do you remember the first day
when you asked if the car wasn't working?
I answered, ''It's given up the ghost.'' Do you remember?
That day, we were driving uphiII. The car gave up the ghost.
Yes.
It had worked too hard and gave up the ghost.
Yes.
What did I say?
A car, just Iike men, can give up the ghost.
And I'II say it again now...
Men, Iike machines,
can give up the ghost.
Right?
You haven't worked this morning. You're not tired.
Yes, but...
you know that's not aIways the case.
Sometimes, when you're idIe, you give up the ghost.
You understand?
You go crazy doing nothing. You bIow your top!
AII right, forget it, it's over.
Let's be friends again.
Shake my hand.
Shake my hand...
If you can hear me, hoId the Iine. I'm going higher up.
HoId the Iine.
I'II see you Iater.
Come on, Behzad.
Forget the cemetery, come and eat some strawberries...
HoId the Iine.
I'm Iistening...
HeIIo.
He toId you that?
Did you give him my message?
Did you repeat my very words?
UnfortunateIy, I can't do anything.
Yes...
Yes...
Yes...
No...
Good-bye...
Sir...
One of your neighbours is buried aIive.
Go and heIp him...
Where?
Up there, in the cemetery.
Sir...
One of your neighbours is buried aIive.
Where?
Up there, in the cemetery.
Yes. HeIp him if you can.
A shoveI... Take it and go. It wiII heIp.
I don't have one.
Sir! Sir!
Have you seen my friends anywhere?
They bought three baskets of strawberries and went.
Three baskets of strawberries?
Where did they go?
Up there somewhere.
Run...
Run, Farzad. Come on, get in. I'm in a hurry. Get in.
- HeIIo. Okay? - Yes.
- Did you sit your exam? - Yes.
Get in, Iet's go.
No, I'II waIk.
You're stiII mad at me? I apoIogised.
- Come on, get in. - No, I'II waIk.
I'm going up. Don't you want to come?
- Good Iuck. - Thank you.
- Have you seen my coIIeagues? - Yes, they went that way.
Which way? Over the hiII? Where?
I don't know. They went through that gate.
- Towards the hiII? - I have no idea.
- Did they have the gear? - They had their bags.
- Thank you. - May God preserve you.
Farzad, I'm going up the hiII. Want to come?
No, I'm not coming, I'm going to the fieIds.
Come on, get in...
No. I'm going to the farm.
- Come on, I'II bring you back. - No.
Why haven't you got out? Go on, get out.
Take the wheeI.
Give my coIIeagues the keys. Don't forget.
WiII he make it, doctor?
Yes, he just needed oxygen.
A jab and a respirator wiII put him right.
We've sent him to town. Oxygen wiII save him.
- Where are you going? - Down there.
There's a sick woman. Perhaps you couId see her.
AII right.
- Do you mind? - No, no probIem.
It's a miracIe he survived.
He was Iucky.
The stone got stuck
before it struck his head.
Then some stones gave way.
He was trapped,
as if he was in a tiny ceII.
He needed oxygen.
If he gets oxygen,
he'II puII through aII right.
He was covered in dirt.
''lf my guardian angel is hhe one l know,
''he'll prohech glass from shone.''
Yes, that's a fine poem.
So the ''gIass'' remained intact?
Yes, it remained intact.
He'II be saved.
- Doctor, do you mind if I smoke? - No, you shouId mind.
- What? - You shouId mind.
Not me. It's no concern of mine if you smoke.
The air is so pure here.
It'II take more than your cigarette to poIIute it.
I onIy measure my strength with my Iungs.
If you're in good heaIth, carry on.
Doctor, what's your speciaIity?
I don't have one. That way, I Iook after the whoIe body.
If I speciaIised,
I'd be Iimited.
You must have a Iot of patients then.
AImost no one.
I have to ride around, Iooking at nature's beauty,
caIIing on peopIe, doing the odd circumcision,
giving jabs,
piercing ears, etc.
If I'm no use to others,
at Ieast I make the most of Iife. I observe nature.
Observing nature is better
than pIaying backgammon. Or doing nothing.
This is the pIace, doctor.
IdIeness Ieads to corruption.
WeII, weII, it's our invaIid! She's my friend.
She's as oId as MethuseIah.
HeIIo, are you weII?
It's been a whiIe!
I have things to do. I'II come back. Are you staying?
You haven't seen my coIIeagues?
No.
Madam.
You Ieft the baby!
I went to fetch you some miIk.
You haven't seen my coIIeagues?
No. I onIy saw them this morning.
This morning.
And this afternoon?
- Did they have the gear? - No, they had nothing.
I've prescribed her some piIIs.
Give them to her
to ease the pain.
We don't have a car to get to the chemist's.
Give her medicine.
There's none Ieft.
What's the matter?
It's her prescription.
Whose?
The invaIid's.
The oId woman? I'II fetch it.
Can you drop me off?
Yes, of course.
Good-bye. Drive safeIy.
I'm Iike a generaI without an army.
Where do you want to go?
I'm going to the hospitaI.
Are you worried about your car or about the victim?
What do you think?
I think that before we get there,
the victim wiII be up and gone.
No, I beg of you,
give her the medication.
They're painkiIIers.
Two tabIets in the morning and two at night,
dissoIved in water.
You said two in the morning and two at night?
Yes.
When you go to the chemist's,
you have to be very determined
or they won't give you everything.
Is it hard to come by?
That's not the issue. Chemists are Iike that.
She's suffering, poor thing. We can't do anything.
Let her take this and sIeep.
Doctor, what's wrong with her?
Oh, excuse me a second.
Speak Iouder. It's windy. I can't hear you.
I can't hear you.
How do you know?
I said, how do you know?
I can't hear. Speak Iouder.
We were cut off.
You were saying, doctor...
What's wrong with her?
Nothing,
she's just oId and weak.
She's just a bag of bones
and she's not very weII at aII.
OId age is a terribIe iIIness.
Yes, but there are worse iIInesses.
Death...
- Death? - Yes.
Death is the worst.
When you cIose your eyes on this worId,
this beauty, the wonders of nature
and the generosity of God,
it means you'II never be coming back.
They say that the other worId is more beautifuI.
But...
who has come back from there to teII us
if it's beautifuI or not?
''They hell me she is as beauhiful as a houri from heaven!
''Yeh l say
''Thah hhe juice of hhe vine is better.
''Prefer hhe presenh ho hhese fine promises.
''Even a drum sounds melodious from afar...
''Prefer hhe presenh...''
HeIIo.
HeIIo.
Director and editor: Abbas KIAROSTAMI
Photography: Mahmoud KALARI
Sound: Jahangir MIRSHEKARI
ScreenpIay: Abbas KIAROSTAMI
Based on an idea by: Mahmoud AYDIN
Music: Peyman YAZDANIAN
Produced by: Marin KARMITZ - Abbas KIAROSTAMI
With: Behzad DOURANI
EngIish subtitIes: Ian BurIey
Processed by C.M.C. - Paris
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Wheels on Meals
When A Man Loves A Woman 1994 CD1
When A Man Loves A Woman 1994 CD2
When Harry Met Sally
When I Turned Nine 2004 CD1
When I Turned Nine 2004 CD2
When Ruoma Was Seventeen 2002
When The Last Sword Is Drawn 2003 CD1
When The Last Sword Is Drawn 2003 CD2
When Will I Be Loved 2004
When the Rain Lifts 1999
When the Sky Falls
When we were kings
Where Angels Go Trouble Follows (James Neilson 1968)
Where Eagles Dare CD1
Where Eagles Dare CD2
Where The Heart Is
Where the Red Fern Grows 2003
Where the Sidewalk Ends
While You Were Sleeping
Whipped
Whirlpool 1949
Whisper of the Heart
White Chicks
White Dragon
White Fang - To the Rescue
White Man Cant Jump CD1
White Man Cant Jump CD2
White Palace
White Sheik The
White Sun Of The Desert 1970
White Valentine - 25fps - 1999
White Valentine 1999
Who Are You 2002 CD1
Who Are You 2002 CD2
Who Is Cletis Tout
Who framed Roger Rabbit (1988)
Whole Nine Yards The
Whole ten yards The
Whos Afraid of Virginia Woolf CD1
Whos Afraid of Virginia Woolf CD2
Whos Harry Crumb
Whos That Knocking at My Door
Whos Your Daddy
Wicked - 29,970fps 1998
Wicked 1998
Wicked 1998 29,970fps
Wicked City - 1973
Wicked City 1973
Wicker Park CD1
Wicker Park CD2
Wild Bunch The
Wild Bunch The - Restored Directors Cut
Wild One The
Wind Carpet The (Kamal Tabrizi 2003)
Wind Will Carry Us The CD1
Wind Will Carry Us The CD2
Wings of Desire CD1
Wings of Desire CD2
Wizard Of Darkness
Wizard of Oz The CD1
Wizard of Oz The CD2
Women from Mars
Women in Black The
World Is Not Enough The
Worst of Ed Wood Boxed Set The