“A TRUE ARTIST is someone who is close to the people,” says Hossein Sabzian, whose trial for impersonating the filmmaker Mohsen Makhmalbaf is the subject of Abbas Kiarostami’s documentary-cum–neorealist drama Close-Up (1990). This common enough sentiment resonates in Close-Up as a bold thesis for a cinema that is not merely populist but thoroughly and originally democratic.
Newly divorced and, like a quarter of Iranians in 1990, chronically unemployed, Sabzian lives only for cinema. He adopts the identity of his hero, Makhmalbaf, out of a need for self-worth. His victims—the middle-class Ahankhah