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The Wind Will Carry Us (1999) is a Iranian film directed by Abbas Kiarostami. The image painted is largely based on the promotional poster, taken from a scene where the “engineer” hitches a ride from the village doctor to visit the ailing lady.

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It was frustrating trying to grasp the film’s symbolic moments when I was ignorant of their culture. The still from the promotional picture made the most sense. It captured the beauty of the location, and had people on a vehicle riding into the distance, which seemed appropriate since the viewers would have to infer meaning for themselves, a meaning so deep even I couldn’t fathom. (One of the reasons I didn’t do this as an essay,for fear I would have done the film an injustice.

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Dvd box.

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Upon further reading up,I realised the objective of the “engineer” was to document the funeral of the ailing women and his crew was awaiting her death. I chose these colours to paint with, to capture the lovely ochre tones of the setting, as well as give it a darker, more saturated twist.

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To show the complexity of the film, and represent the poetic angles of interpretation where Kiarostami used, I used a method of painting that involved transferring paint, and using a stippling motion to layer the paints used. The result was a texture that varied in thickness and soaked my canvas (in this case,mahjong paper) throughly.

The doctor and engineer are projected as a silhouette of themselves. The almost indigo, electric shade of blue was chosen for it’s contrast to the saffron hues, and also that it was a melancholic, healing colour. The shadow of the silhouette fades to black at the end to show that although the doctor and the “engineer” are going to relieve the ailing lady’s pain, they were actually coming to ease her transition to the NetherWorld, as though they were angels of Death.

Bernice Lam is an aspiring writer-film maker, chorale trained singer, web comic enthusiast, amateur twitterer.

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2 thoughts on “The Wind Will Carry Us: With A Darker Twist

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