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| Detail | Rashomon | Close-up |
|---|---|---|
| Content type | Films | Films |
| Director / creator | Akira Kurosawa | Abbas Kiarostami |
| Reference year | 1950 | 1990 |
| Cited edition runtime | 88 min | 98 min |
| Countries listed by source | Japan | Iran |
| Languages listed by source | Japanese | Persian |
| Reference aspect ratio | 1.33:1 | 1.33:1 |
| Cited edition image | Black and white | Colour |
| Sources and references | www.criterion.com ↗ Reference checked : 2026-10-06 | www.criterion.com ↗ Reference checked : 2026-10-06 |
Runtime and format describe the cited reference. Other editions may have different cuts, languages and tracks. A series year refers to its first broadcast; its total runtime is not calculated here.
186 min — for both editions, excluding breaks and discussion.
Several witnesses give conflicting accounts of a crime in a forest.
Track changes in gestures, positions and reactions across accounts. Distinguish the film’s presentation from a witness’s account. Afterwards, ask which version persuaded you and which clues you used.
A man impersonates a filmmaker; those involved re-enact their own story.
Separate testimony from re-enactment. Emotional force does not establish evidence. Compare this viewer agreement to The Thin Blue Line, then competing accounts to Rashomon, without seeking a solution beforehand.
Choose one scene from each work. First describe an action, a position in the frame or a sound; then explain its effect on your attention. Separate observation from interpretation. When production contexts differ, do not turn a formal difference into a general claim about a country.