Close-Up - Characters & Cast

Sabzian's primary motivation is not financial gain, but a deep-seated desire for respect, identity, and a connection to the world of art that has given his life meaning. He is driven by his profound love for cinema and the way it makes him feel seen. He craves the authority and admiration that comes with being a renowned artist.

Hossain Sabzian begins as a marginalized and unemployed man who finds solace in cinema. His impulsive decision to impersonate a famous director leads him down a path of deception, but also gives him a taste of the respect and significance he craves. Through his trial and his interactions with Kiarostami, he is given a platform to articulate his complex motivations. His arc is not one of drastic change, but of being seen and understood. The film ends with a sense of catharsis for him as he meets his idol and makes amends with the family he deceived, though his future remains uncertain.

Their initial motivation is the excitement and prestige of being associated with a famous filmmaker. Later, their motivation shifts to seeking justice and understanding why they were deceived. They are also concerned about the possibility of being robbed. Ultimately, they are motivated by a desire for resolution and, to some extent, by the social pressure to be forgiving during the trial.

The Ahankhah family initially appears as victims of a con. They are flattered by the attention of a famous director and are eager to participate in his film. Their arc involves a shift from belief to suspicion, and finally to a feeling of betrayal and humiliation. However, the film also portrays their willingness to forgive, albeit with some prompting from the judge and Kiarostami. By participating in the reenactments, they become active collaborators in the telling of the story, moving from being passive victims to co-creators of the film.

Kiarostami's motivation is to understand the human story behind the sensational headline. He is fascinated by Sabzian's character and the complex reasons for his impersonation. He is driven by a philosophical curiosity about the nature of truth, reality, and cinema, and a desire to use his craft to create a more nuanced and compassionate portrayal of the events than a court of law could provide.

Kiarostami inserts himself into the narrative not just as a filmmaker but as a character who actively influences the events. He moves from being an observer who read about the story in a magazine to a participant who arranges to film the trial, interviews Sabzian, and even facilitates the meeting between Sabzian and Makhmalbaf. His arc is one of increasing involvement, as he uses his position as a director to explore the deeper truths of the situation and to bring about a form of reconciliation for the people involved.