Taste of Cherry

Taste of Cherry takes its title from an anecdote that celebrates the things in life - such as the savoring of a delectable fresh fruit - that we take for granted. Kiarostami's film won the top prize at Cannes last year, an honor that has infamously gone to some overrated movies over the years. In this case, the award was less than a superb picture deserved. [12 June 1998, p.04]

This highly challenging, deeply philosophical Iranian drama focuses on a man who has decided to end his life but first drives through the countryside in search of a compassionate stranger who'll agree to give him a proper burial. At once a compelling human story and an utterly fresh piece of moviemaking, the picture reconfirms Kiarostami's growing reputation as one of world film's most original talents. [20 March 1998, p.B2]

Exquisite.

A simple, serene and occasionally humorous film about a subject that is complex, emotional and usually treated with solemnity.

His film has a kind of lyrical and poetic beauty at the same time it's remarkably free of sentimentality and didacticism, and it tells its tale with the minimalist effectiveness of a first-rate short story. [3 July 1998]

This tale of a despondent man's attempt to find someone to help him commit suicide never really hits the emotional heights it should; it may be that the film's proponents are confusing simplicity with profundity. [30 Sept 1997]

Excruciatingly boring.

A masterpiece that portrays the depth of human loneliness with incredible restraint. The film follows a man who feels he has no option left except suicide, and it showcases his journey to find someone to bury him. He does not want to be left alone in the earth; he believes that through burial, he will finally be free from his pain. The way he justifies his decision and the challenges he faces when the moment finally arrives is captured perfectly. It is a slow, quiet, and deeply moving film that is easily one of the best portrayals of isolation ever put on screen.

Narrated as if it were a documentary, it intelligently addresses a rather delicate topic: suicide. Without the support of a musical score, and a mysterious ending that does not provoke indifference, it is one of many good examples of Middle Eastern cinema.

The decision is made. Badii is intent to end his life, and all he asks for is someone who could bury him as he's lying in his grave he's already dug out. We have no idea why exactly Badii is willing to kill himself. And in this lack of explanation not only we're asked to focus on the 99-minute journey instead of the destination, but we're also implicitly informed that Badii's soul is no longer being tormented but it's already gasping out its last breath; which means it's not dead yet, though. If it hadn't been for Homayoun Ershadi, Badii would've seemed dead, even as he's driving his truck. For Eshadi's sorrow-laden eyes expose the misery that burdens Badii's soul and, in turn, prompts him to "free [himself] from this life," and that what makes him clutching at a straw even if he himself is completely unaware of that. There's nothing surrounding him that could urge him to give the idea a second thought. All we see are some bleak and dismally empty and desolate landscapes. The sound of silence permeate the screen to reflect the excruciating ennui Badii feels, and the only sounds that break the silence intermittently are the cacophonous sound of machines or other jarring sounds. Kiarostami also detaches him, and us, from the world Badii has long forsaken, making us listen to conversations with the speakers almost off-screen. And the only life form Badii seems to observe are not of the people he interacts with—simply because his mind is solely concentrating on seeking someone to assist him do what he wants—but those of crows. Along his journey, innate goodness of human beings like "refraining from doing any harm to anyone" or "offering a hand whenever encountering someone in need or trouble" are manifested, but so long as these traits interfere with Badii's intent, they come off as hurdles to what he plans to do and they just end up pass by him unnoticed. As he's in a stage beyond any rational thinking, religious and philosophical advices fall on deaf ears as well. No one can change his mind. A long lecturing would definitely be of no help, unless beneath its veneer of didacticism lies a life-affirming power and an irrefutable optimism of an epiphanic impact. What kept me from giving this five stars is that the lack of information about Badii distanced me emotionally from him at the beginning. Regardless, Taste of Cherry is a minimalist masterpiece that celebrates life by showing us its value and beauty hidden in its simplicity.

Definitely interesting, its an extended drive and talk as a man searches for an assistant in his suicide. I expected the ending but that back half of this is effective.

This is a thought provoking and somewhat philosophical watch. Its quite low key, almost documentary in style. The plot was rather slow and perhaps a little meandering. Its a sobering watch - an interesting one. I liked the discussions had, hearing different peoples opinions about a deeply personal matter. I'm not sure I'd specifically recommend it as such but its certainly not bad either.