After theterrible earthquake that hit Iran in 1990, a filmmaker set out to the village of Koker with his young son Pouya. Amidst the ruins and the survivors who are busy rebuilding their homes, he tries to advance in his search for the children who acted in his previous film.
The pinnacle of Kiarostami’s work, And Life Goes On makes full use of the element of the car, which becomes both a privileged place for discussion and an objective frame for looking out at the world. After the national disaster, the author decided to film the overwhelming reality confronting him and proposes an original geographical epic, the crossing of a chaotic land where, despite everything, life continues and struggles against collapse. The film also includes a reflection on the place of the camera vis-à-vis reality.