Pamela Anderson Hails Abbas Kiarostami as Cinema’s True Visionary

Pamela Anderson has entered a new chapter, one marked by a sense of freedom that’s hard to ignore. Once known almost exclusively for her role as CJ in Baywatch, Anderson’s early career was shaped by the expectations of others, with her image often reduced to little more than a red swimsuit and a slow-motion run. For five series, she became a fixture of 1990s television, her character’s depth frequently overshadowed by the show’s focus on spectacle and fantasy. Despite the public’s persistent fascination with her personal life and a string of headline-grabbing marriages, Anderson has gradually stepped out from behind the persona that once defined her, revealing a far more complex individual than many might have assumed.

In recent years, she’s surprised audiences with her varied interests, from sharing gardening advice on television to delivering a memorable solo in The Naked Gun. Without directly addressing the relentless press coverage of her past, Anderson has managed to move beyond it, quietly but firmly. Her latest revelation, however, may come as a surprise to those who haven’t been paying close attention: she is, in fact, a dedicated lover of film.

Discovering a Passion for Poetic Filmmaking

During a visit to the Criterion Closet, a haven for cinephiles, Anderson’s enthusiasm for cinema was on full display. Her first choice from the shelves was the sultry French drama La Piscine, featuring Alain Delon exuding a hypnotic allure by a sun-drenched pool. She followed this with a selection of classics: David Lynch’s Blue Velvet, Henri-Georges Clouzot’s La Vérité, Jean-Luc Godard’s Breathless, and Federico Fellini’s La Strada. Yet, it was an Iranian director who received her highest praise.

Holding a copy of the Koker trilogy, Anderson remarked,

[He] was the original gangster when it came to those kinds of beautiful films that are so poetic

. Her admiration for Abbas Kiarostami was clear, as she highlighted his unique contribution to the art form. While some might note the omission of earlier masters like Fritz Lang or Ingmar Bergman, Anderson’s focus was firmly on Kiarostami’s innovative approach.

Kiarostami’s Enduring Influence

The Koker trilogy—comprising Where Is the Friend’s House? (1987), Life, and Nothing More… (1992), and Through the Olive Trees (1994)—stands as a testament to Kiarostami’s ability to capture the subtleties of everyday existence. Anderson’s appreciation extended beyond these works, with films such as Taste of Cherry and The Wind Will Carry Us also exemplifying his mastery. As a leading figure in the Iranian New Wave, Kiarostami navigated the constraints of strict censorship by developing a pared-back style that spoke volumes about his subjects.

His films are marked by extended takes, wide shots, and minimal dialogue, encouraging viewers to look beneath the surface for deeper meaning—whether personal, spiritual, or existential. Many of his works blur the line between fiction and reality, often reflecting on the nature of filmmaking itself. Kiarostami’s minimalist approach set him apart from his contemporaries, demonstrating the power of cinema to illuminate the ordinary in ways that resonate far beyond their immediate setting.

Recognition from an Unexpected Source

Anderson’s recognition of Kiarostami’s artistry is a reminder that the impact of a filmmaker can reach audiences in unexpected places. Her thoughtful selection and praise for his work suggest a genuine appreciation for the subtlety and depth that define his films. In celebrating Kiarostami, Anderson places him among the greats, acknowledging his role in shaping a cinematic language that continues to inspire and move viewers around the world.