Doors, Windows and the Notebook of Solidarity

Abstract

Abstract The widespread acknowledgement of Kiarostami as a global auteur provides us with a background against which to reconsider one of his most local films as well as one of the most important representations of children in Iranian cinema. When interpreting Where Is the Friend’s House?, many critics and scholars see metaphysical references in the simple act of a child attempting to overcome obstacles put in his way by adults. But any mystical reading of the film runs the risk of closing off consideration of Kiarostami’s endeavour to offer a cognitive map of a crucial moment in Iranian history. This study aims to rethink the film, focusing on Kiarostami’s depiction of social conflicts through an exploration of quotidian spaces and a portrayal of simple objects such as doors, windows and homework notebooks. Abbas Kiarostami, in creating such a microcosmic space, was following great Iranian thinkers and poets such as Hafez in expressing his contestation of the dominant ideologies of post-1979 Iran.