homework abbas kiarostami watch online

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In this documentary, Kiarostami asks a number of students about their school homework. The answers of some children shows the darker side of this method of education. In this documentary, Kiarostami asks a number of students about their school homework. The answers of some children shows the darker side of this method of education. In this documentary, Kiarostami asks a number of students about their school homework. The answers of some children shows the darker side of this method of education.

• Abbas Kiarostami
• Babak Ahmadpoor
• Farhang Akhavan
• Mohammad Reza Nematzadeh
• 7 User reviews
• 9 Critic reviews

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• Oct 16, 2002
• How long is Homework? Powered by Alexa
• January 1, 1989 (Italy)
• sourehcinema
• Los deberes
• Tehran, Iran
• Kanun parvaresh fekri
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• Runtime 1 hour 26 minutes

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Homework Stream and Watch Online

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Want to behold the glory that is ' Homework ' in the comfort of your own home? Discovering a streaming service to buy, rent, download, or view the Abbas Kiarostami-directed movie via subscription can be challenging, so we here at Moviefone want to take the pressure off. We've listed a number of streaming and cable services - including rental, purchase, and subscription choices - along with the availability of 'Homework' on each platform when they are available. Now, before we get into the fundamentals of how you can watch 'Homework' right now, here are some details about the Kanoon documentary flick. Released , 'Homework' stars Babak Ahmadpoor , Farhang Akhavan , Mohammad Reza Nematzadeh , Abbas Kiarostami The movie has a runtime of about 1 hr 26 min, and received a user score of 73 (out of 100) on TMDb, which collated reviews from 27 respected users. Curious to know what the movie's about? Here's the plot: "Young male students at a local Iranian school are asked about their feelings on homework." 'Homework' is currently available to rent, purchase, or stream via subscription on Criterion Channel .

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Young male students at a local Iranian school are asked about their feelings on homework.

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February 1, 1989,

Abbas Kiarostami

Babak Ahmadpoor, Farhang Akhavan, Mohammad Reza Nematzadeh, Abbas Kiarostami, Iraj Safavi

Documentary

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.css-1lejymi{text-transform:uppercase;} .css-1ud9u2t{font-weight:bold;text-transform:uppercase;} Abbas Kiarostami Iran, 1989

Returning to the classroom after First Graders , Abbas Kiarostami interviews schoolboys, and just wait until you hear what tumbles from their mouths. Underneath a simple—and simply devastating—premise, Kiarostami unearths a maelstrom of suffering, indicating something rotten in the state of Iran.

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Director: Abbas Kiarostami

Country: Iran

Runtime: 86 minutes

Color / Mono

In Kiarostami's second documentary feature about education, the filmmaker himself asks the questions, interviewing a succession of invariably cute first- and second-graders about their home situations and the schoolwork they must do there. It emerges that many parents are illiterate. Tellingly, many kids can define punishment (the corporal variety seems common) but not encouragement.

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Lying About Homework (Abbas Kiarostami, 1989)

“it’s a film about homework.”.

Or so Abbas Kiarostami tells a group of schoolboys who approach him on the street and ask what he’s filming. “Have you done your homework?” Kiarostami asks them, in turn. A resounding “Yes!,” and off they go to school, where the director and his crew will soon join them. When an adult passerby stops to inquire about the film moments later, Kiarostami skirts politely around his own intentions — the theme will emerge only through the process of filming, but it has something to do with a problem he encountered while helping his son with his homework — before offering the man a vague summary of what he knows so far. “You could say it’s a visual study of pupils’ homework assignments.”

Taken at face value, Kiarostami’s description of his feature documentary Homework ( Mashgh-e Shab , 1989) is accurate enough; the bulk of the film entails he and his small crew visiting a poor public school in Tehran and interviewing schoolboys, one after another, about their homework. Calling the film a “visual study,” however, would be selling it short by half. Kiarostami understood better than most that cinema is not a visual but an audiovisual medium, comprised of image and sound; Kiarostami’s cinema, in particular, is as much about what we don’t see as what we do. The interactions described above occur in the opening seconds of the film, and already we’ve seen and heard the children but have only heard the adults. Kiarostami and the passerby remain hidden somewhere beyond the edges of the frame, their conversation perhaps heard from a time and place that doesn’t correspond to what’s shown onscreen. Homework is about children, who we always see, but it’s also about adults, who we only sometimes see.

“Why haven’t you done your homework?”

Kiarostami begins by asking this question, or a question to this effect, to each child seated in front of his camera. The answers they give are often banal (for example, they couldn’t do the homework because some family members came to visit) and sometimes poignant (their parents are illiterate and so weren’t able to help them with it). On this level, the film is a rather straightforward journalistic undertaking about children’s attitudes towards homework and, by extension, schooling and education. But as all documentaries do to some degree, Homework reflects a moment in history — here the latter stages of the Iran-Iraq War, a savage conflict that lasted eight years and killed somewhere in the vicinity of a million people. The young boys who appear in the film don’t yet know a world without it. It’s through their responses to Kiarostami’s simple but persistent questioning, which slowly branches off from the topic of homework, that they reveal the immense cultural, social and political pressures that inflect their lives ­— and that they carry with them every day, like their schoolbags, between home and school.

“What do you want to be?” Kiarostami asks a child, to which the child responds, “A pilot.” Nothing at all unusual except the reason given, which is “To kill Suddam.” When asked what he’d rather be if Suddam Hussein weren’t part of the picture: a doctor, to save lives! Despite that he ought to be too young to understand what it means, another boy claims he’ll hit his future son to discipline him — seven times, to be exact, this being the same number of slaps he receives from his own father when he acts up. In a more light-hearted but no less absurd fashion, many of the boys profess that they enjoy doing homework as much as they enjoy watching cartoons. The children’s grades, abilities and circumstances may vary, but it’s clear they’re all learning; that is, they’re learning what they’re supposed to say. And one lesson they’ve learned already, it quickly emerges, is that they get punished for not doing homework. Almost every child agrees on what this “punishment” means — it’s usually to get beaten by a parent, with a belt, or sometimes by a teacher, with a ruler. (Few of them agree on, let alone understand, what is meant by “praise” or “encouragement”.) It isn’t the children’s attitudes towards homework that speak loudest, so much as their fear of what would happen should they not do it.

“Why are you crying?”

Kiarostami isn’t even able to broach the topic of homework with Majid, the last boy to appear before the camera. The poor kid is an anxious mess from the outset, crying for his best friend to be alongside him for protection, apologising for no reason in particular and, most tellingly, keeping his arm raised throughout much of the ordeal — something a teacher has taught him to do, when seeking permission. Kiarostami isn’t a teacher, but he may as well be one for Majid and the other children. Like a teacher, this man already seems to know whether they’ve done their homework or not. And like a teacher, he has the power to pull them out of class for reasons they don’t understand, and into a room full of strange men and their strange equipment, the significance of which they also don’t understand. All Majid knows is that Kiarostami belongs to the adult world — the same world in which belong the men and women who punish children for not doing homework. Which is why Majid cries, and why the children lie.

Like Frederick Wiseman’s American documentary High School (1968), filmed two decades earlier in a country that would soon become one of Iran’s ideological nemeses, Homework questions not just how schooling works but what schooling is for. Wiseman does this by focusing on the processes of schooling, by observing the teachers as they teach and discipline the students. Kiarostami focuses instead on the effects of schooling, by provoking the students to reveal what they’ve learned or not — all while questioning his own role as a filmmaker, as the one doing the provoking. Like their anxieties about school, these children’s anxieties about being filmed are often visible on their faces even before their interview has started proper. Not content with mere observation, however, Kiarostami also makes visible the immediate source of their anxieties, through sporadic shots of he and his crew that remind us exactly who’s in charge; and most notably, through the abundant insert shots of his cameraman pointing the lens directly into the eye of another camera — Homework ’s single most recurring image — that alternate with talking-head shots of the children throughout the film and function as their collective point of view. Kiarostami may be on the children’s side, but it doesn’t necessarily look that way for the children. This bold and jarring image, staged after the fact and shown again and again, never allows us to forget the imbalance at the film’s centre.

“Are you telling the truth?”

In a late sequence, a teacher leads the entire school through a religious mourning ceremony in the yard, echoing the nationalistic war chants the children are shown performing at the start of their day (“ Three and four and five and six, Saddam’s followers are doomed! ”). Kiarostami’s voice emerges, in a rare voiceover: maintaining the detached tone he adopts throughout the film, he expresses regret that the children aren’t performing the ceremony to an adequate standard — then turns off the sound. Kiarostami will go on to pull off a similar manoeuvre in the celebrated final sequence of his next film, the masterpiece Close-Up (1991). In that sequence, a faulty lapel mic serves as the pretext for obscuring a climactic conversation between two characters. The rationale given for the silence in Homework , however, is supposedly “out of respect.”

We can’t know for certain if Kiarostami is telling the truth or not, neither here nor elsewhere — but if the sound has been turned off out of respect, it would seem to be out of respect for the children only. With the homogenising camouflage of the singing removed, we can now see (and “hear”) that the children can’t recite the lyrics with any enthusiasm, or beat their chests properly in time, because they don’t care about or even understand the words and actions they’re being made to repeat. Some boys look around confused while others stare off into space, perhaps daydreaming about when the school bell might ring; many risk punishment and take the opportunity to play, by mocking the ceremony with a custom dance, or by sneaking out of formation to flick another boy’s ear from behind. As the soundtrack creeps back in, the camera locates Majid’s ever-anxious face at the tail end of the sequence — and he appears to be one of only few sorry-looking kids who are taking the ceremony seriously.

With a simple formal gesture, Kiarostami transforms the sequence into both a celebration of childhood and an indictment of blind adult authority — and confirms through sound and image what’s already been revealed through the children’s words. What the children say in Homework is often heartbreaking, but what they say isn’t the same as what they think and feel. (Even Majid will be given a final opportunity to prove as much, in the film’s beautiful closing moments.) The truth of this discrepancy comes in the shape of a lie; to see it and hear it for what it is, Kiarostami must lie himself.

Mashgh-e Shab ( Homework , 1989 Iran 86 mins)

Prod. Co:  Kanun  Prod:  Ali Reza Zarrin Dir:  Abbas Kiarostami  Phot:  Ali Asghar Mirzai, Farhad Saba, Iraj Safavi Ed: Abbas Kiarostami Snd: Ahmad Asgari, Changiz Sayad

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Homework (1989)

Directed by abbas kiarostami.

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Homework | Abbas Kiarostami

Abbas Kiarostami has never been shy of image manipulation in his documentary films. One almost hesitates to call Close Up  a documentary, for instance, because of this manipulation, since no one can truly understand how much has been restaged or “acted” and how much should be taken as truth. Certain dubious scenes in Close Up —namely, Sabzian’s trial—pose more philosophical questions about the entire cinematic exercise than they answer, which is partially why the film is ultimately rewarding. Kiarostami’s post-Revolution preoccupation with the treatment of children in Iran inspired him to make the deeply spiritual Where Is the Friend’s Home?  and the less substantial  A Suit for Wedding  and First Graders , all of which examine the environments in which children face everyday abuse. But none are as devastating as Homework . In this documentary investigation, Kiarostami examines the burden of homework, a problem mostly obscured by its private nature. For most viewers, the idea of doing schoolwork at home is an innocuous if not annoying task. But in Iranian society in the 1980s, Kiarostami argues, homework is much more than a chore: It is a whipping post that provides parents and teachers with a convenient excuse to mistreat children. Homework is the yoke that ties kids’ public existence in school to their private lives at home, and it reveals much more about parent-child and teacher-student relationships than a child’s cognitive abilities in spelling or equations.

To conduct his research, Kiarostami kept things simple and picked one school of young males. Kiarostami says he surveyed 800 students, parents and teachers, in order to unearth the difficulties children experience in completing their assignments. The project is a personal one; its predecessor can be found in its fiction equivalent, First Graders . Kiarostami was given the tremendous responsibility of taking care of his two sons after separating from his wife, and he experienced difficulty helping them with their assignments. He was curious if this problem was unique, and within minutes of watching the film it becomes fairly obvious that the director is not alone—many parents struggle to assist their kids with their homework, and for very diverse reasons.

What emerges from this hour-long doc, consisting mostly of interviews with kids, is that the role of Iranian children is one of a scapegoat for any and all household problems. Homework  is not as manipulated as Close Up ; its structure is too simple, its purpose too straightforward. But because it is difficult to accept Kiarostami’s interviews at face value, trying to discern what is being manipulated in this film offers no real value in its analysis or criticism. We know from the beginning that there is enough child abuse occurring among the students to warrant an exposé that focuses only on the most troubled victims (Kiarostami says that he picked the least academically inclined children, but of course there is a high correlation between the at-risk kids and the ones at the bottom of their class). There are repeated shots of the camera operator focusing a lens (without any onscreen sound) that were obviously thrown in after shooting. Kiarostami can be heard mostly off-camera asking questions and his physical presence is shown a few times. None of this is problematic or deceptive or even interesting, really, in the overall scheme of things. What is more important is the clear deterioration of the interviews as the film contrasts the best-mannered students with the most troubled, particularly the last child, whose extreme anxiety is not only disconcerting to watch, it makes one wish there had been some pathway for intervention. The child is terrified of the film crew and demands his friend accompany him in the room—for no reason, he claims. When his friend is interviewed separately, he says the other boy was scared to be in a room with adult strangers because he assumed they were going to close the door and beat him with a ruler. Because there is no observable cause for his panic, one senses that the child’s look of terror and his pleas for mercy are behavioral—more telling of his family situation. (Kiarostami does interview his father, albeit quite delicately, because a subtle and restrained approach discloses much more about the father’s half-hearted lies than straight-up interrogation.)

What emerges from this hour-long doc, consisting mostly of interviews with kids, is that the role of Iranian children is that of a scapegoat for any and all household problems.

There are a few noticeable trends among the children’s answers that divulge the systematic communication strategies they have been taught in order to survive in the classroom and at home. One comedic (though tragic) pattern emerges when every student righteously affirms their preference of homework over cartoons. In at least one case, Kiarostami does not even need to pose the question; the child immediately denounces cartoons over the value of “learning” derived from homework. Said homework is found to be perplexingly difficult, heavy in load, and more often than not composed of busy-work drills. Because teachers demand that students essentially teach themselves at home, homework absolutely requires the supervision of an older family member. Frequently, adults are too busy, illiterate or negligent to live up to this responsibility and are unsure how to help their children succeed. But the real contradiction lies in discipline and reward. Instead of acknowledging the hardships placed on children in completing their homework (they are physically punished at school if their homework is incomplete), many parents are quick to blame their kids for not acing every single test. Kiarostami asks most of the children about punishment, and while many are too shy initially, they almost always open up about who punishes them , the objects used in the beating, and its frequency. Many of them don’t understand what the word “praise” even means.

These children have been taught to lie, but they are too young to understand nuance to effectively pull off deception. The gravity of their situation becomes clear in a short period of time. In his fiction films, Kiarostami is capable of weaving the god-awful truths with the many lies of his proud characters, but in Homework  reality does the job for him. This does not make him lazy; the strategy communicates alarming real-life examples and demonstrates his strength in using different techniques to indirectly unearth the devastating results of questionable social behaviors in Iranian children. Many of his films do not feature the most uplifting of themes, and a few are downright depressing, but real-life circumstances mark Homework  as next-level devastation in Kiarostami’s oeuvre.

Part of  The Self-Reflexive Cinema of Abbas Kiarostami

• by Tina Hassannia
• Retrospective

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Tonight’s Homework

Original title: mashgh-e emshab.

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In Homework (1989), Abbas Kiarostami put questions to students at a public school: questions about homework, punishments, and dreams of the future. The result was a portrait of the generation that grew up during the Iran-Iraq war, trapped by uncertainty and a rigid upbringing. Now, some 30 years later, directors Ashkan Nejati and Mehran Nematollahi repeat Kiarostami’s questions and come to the conclusion that the school system and society itself have changed dramatically. The gulf between rich and poor has grown far wider, and that has become evident in the schools. Parents, many of whom are illiterate, are unable to help their young ones, or otherwise too busy with their careers to supervise homework. Any sense of interest or guidance is absent.

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