visual

Robert Wilson, a leader in avant-garde theater who collaborated with Philip Glass, David Byrne and Lady Gaga over his six-decade career, has died. He was 83.

The “Einstein on the Beach” director died Thursday at his home in Water Mill, N.Y., after a “brief but acute illness,” according to his website.

“While facing his diagnosis with clear eyes and determination, he still felt compelled to keep working and creating right up until the very end,” the statement reads. “His works for the stage, on paper, sculptures and video portraits, as well as the Watermill Center, will endure as Robert Wilson’s artistic legacy.”

Wilson was born on Oct. 4, 1941, in Waco, Texas, to a conservative Southern Baptist family. He struggled with a speech impediment and learning disabilities as a child but was aided by his ballet teacher, Byrd Hoffman.

“She heard me stutter, and she told me, ‘You should take more time to speak. You should speak slowly,’ ” he told the Observer in 2015. “She said one word over a long period of time. She said go home and try it. I did. Within six weeks, I had overcome the stuttering.”

In 1968, Wilson opened an experimental theater workshop named after his mentor: the Byrd Hoffman School of Byrds. He created the Byrd Hoffman Water Mill Foundation in 1969, under which he established the Watermill Center in 1992.

In his early 20s, Wilson moved to Brooklyn, N.Y., where he studied interior design and architecture at the Pratt Institute. Later, he joined the recreation department of Goldwater Memorial Hospital, where he brought dance to catatonic polio patients with iron lungs.

“Because the patients were largely paralyzed, the work he was doing with them was more mental than physical,” wrote his former colleague Robyn Brentano in Frieze. “With his unconventional frankness and tenderness, he drew out people’s hidden qualities.”

Wilson started teaching movement classes in Summit, N.J., while he wrote his early plays. One day in 1968, he witnessed a white police officer about to strike a deaf, mute Black boy, Raymond Andrews, while walking down the street. Wilson came to Andrews’ defense, appeared in court on his behalf and eventually adopted him. Together, Andrews and Wilson created “Deafman Glance,” a seven-hour “silent opera,” which premiered in 1970 in Iowa City, Iowa.

“The world of a deaf child opened up to us like a wordless mouth. For more than four hours, we went to inhabit this universe where, in the absence of words, of sounds, 60 people had no words except to move,” wrote French Surrealist Louis Aragon after the 1971 Paris premiere. “I never saw anything more beautiful in the world since I was born. Never, never has any play come anywhere near this one, because it is at once life awake and the life of closed eyes, the confusion between everyday life and the life of each night, reality mingles with dream, all that’s inexplicable in the life of deaf man.”

In 1973, Glass attended a showing of Wilson’s “The Life and Times of Joseph Stalin,” which ran for 12 hours from 7 a.m. to 7 p.m. The two artists, united by their interest in experimenting with time and space in theater, soon teamed up to create “Einstein on the Beach,” which premiered in 1976 in Avignon, France.

“We worked first with the time — four hours — and how we were going to divide it up,” Glass told the Guardian in 2012. “I discovered that Bob thinks with a pencil and paper; everything emerged as drawings. I composed music to these, and then Bob began staging it.”

Times classical music critic Mark Swed called “Einstein” “easily the most important opera of the last half century,” even though “nothing about what composer Philip Glass and director Robert Wilson put onstage was opera.” Indeed, “Einstein” has become a cult classic despite the fact it has no Einstein, no beach and no narrative.

Wilson and Glass partnered again to create “the CIVIL warS: a tree is best measured when it is down,” which also featured music from Talking Heads frontman Byrne, for the 1984 Summer Olympics in Los Angeles. The project, meant to span 12 hours, was ultimately never completed due to funding problems. In 1995, Wilson shared his concerns about arts funding in the U.S. with The Times.

“The government should assume leadership,” Wilson told Times contributor Jan Breslauer. “By giving the leadership to the private sector in a capitalistic society, we’re going to measure the value of art by how many products we can sell. We need to have a cultural policy [instead]. There has to be a balance between government and the private sector.

“One of the few things that will remain of this time is what artists are doing,” Wilson says. “They are the journal and the diary of our time.”

In addition to his stage work, Wilson created drawings, sculptures, furniture and installations, which he showed at the Paula Cooper Gallery in New York beginning in 1975. In 2004, Wilson produced a series of video portraits featuring Brad Pitt, Winona Ryder, Renée Fleming and Alan Cumming. He would return to the medium again in 2013 with Lady Gaga as his subject.

His work on the installation “Memory/Loss” earned him a Golden Lion for sculpture at the Venice Biennale in 1993.

One of Wilson’s last projects was an installation commissioned by Salone del Mobile in April Centering on Michelangelo’s Rondanini Pietà at Milan’s Castello Sforzesco, the project explored the Virgin Mary’s pain following Christ’s death with a combination of music, light and sculpture.

“I’m creating my own vision of the artist’s unfinished masterpiece, torn between a feeling of reverential awe and profound admiration,” he told Wallpaper.

Wilson is survived by Andrews; his sister, Suzanne; and his niece, Lori Lambert.

The day before our interview, cinematographer Darius Khondji tells me he went to see a Pablo Picasso exhibit in uptown New York City. And though he would never compare himself to the Spanish painter, Khondji says he found a kinship in the way he described his artistic practice.

“About his style, he said that he was like a chameleon, changing completely from one moment to another, from one situation to another,” Khondji, 69, recalls via Zoom. “This is exactly how I feel. When I’m with a director, I embrace that director completely.”

Backlit, with natural light coming from the large windows behind him on a recent afternoon, Khondji appears shrouded in darkness, at times like an enigmatic silhouette with a halo of sunshine around his fuzzy hair. The Iranian-born cinematographer speaks animatedly, with hand movements accentuating every effusive sentence.

“Sometimes I talk in a very impressionistic way,” Khondji says, apologetically. “I might be confusing but I try to be just honest and say what I feel.”

Khondji’s eclectic resume flaunts an exceptional collection of collaborations, some of the best-looking movies of their moments: David Fincher’s gruesome but gorgeous “Seven,” Jean-Pierre Jeunet and Marc Caro’s darkly whimsical and richly textured “Delicatessen” and “The City of Lost Children,” Michael Haneke’s unflinching love story “Amour,” James Gray’s old-school luxurious “The Immigrant,” the Safdie Brothers’ nerve-racking and kinetic “Uncut Gems,” and now Ari Aster’s paranoid big-canvas pandemic saga “Eddington,” in theaters Friday.

Khondji stands simultaneously as a wise member of the old guard and a hopeful champion for the future of film. Sought in decades past by the likes of Woody Allen, Roman Polanski and Bernardo Bertolucci, he’s now lending his lensing genius to a new generation of storytellers with ideas just as biting.

“Darius understands the human soul and he masters the tools to express it,” says filmmaker Alejandro González Iñárritu via email. “All the technical choices — framing decisions, uses of color and lighting techniques — he is able to apply them, but always subordinated to the director’s vision and, most importantly, to the needs of the film itself.”

Khondji, left, with director Alejandro González Iñárritu on the shoot of 2022’s “Bardo, False Chronicle of a Handful of Truths.”

(SeoJu Park / Netflix)

Khondji earned his second Oscar nomination for his work on the Mexican director’s surrealist 2022 film “Bardo, False Chronicle of a Handful of Truths.” The motion picture academy first acknowledged his artistry with a nod for Alan Parker’s sumptuous 1996 musical “Evita.”

“Darius is kind of a poet — everything is feeling-based with him,” says Aster via video call from Los Angeles. “He is an intellectual but he is also decidedly not.”

If you were to dissect the pivotal memories that shaped Khondji’s creative mind, the array of touchstones would include a photograph of Christopher Lee as Dracula that his brother would bring him from London. Also in prime of place: an image of his older sister, Christine, whom he considers an artistic mentor.

You would also find the intense orange color of persimmons squashed in his family’s garden in Tehran during winter — the only sensory memory he has from his early childhood before his family moved to Paris when he was around 3 1/2 years old in the late 1950s.

“Sometimes I look at my granddaughter and grandson and say, ‘OK, they are 3, almost 3 1/2, so this is the amount of language I had, but it was probably mostly in Farsi,’” he says. Khondji returned to Iran only once, as a teenager in the early 1970s, with a Super 8 camera in hand.

He has been watching movies since infancy. His nanny, an avid moviegoer, would take him to the cinema with her. And later, his father, who owned movie theaters in Tehran and would source films through Europe, brought him along to Parisian screening rooms as a kid.

“These are all stories told to me and a mix of impressions and feelings of things that I remember,” Khondji explains. That visceral, heart-first way of perceiving the world around him might be the defining quality of his approach to image-making. It’s always about how something feels.

“Cinema is a strong force,” he says. “You cannot limit it only with aesthetic taste or things that you like or don’t like or rules. You just have to go with the flow and give yourself to it. You need a lot of humility.” At that last thought, Khondji laughs.

Cinematographer Darius Khondji, photographed in France in 2021.

(Ariane Damain Vergallo)

When he started making his own Dracula-inspired short films on Super 8 as a teenager, Khondji had little idea about the distinct roles of a film production. Slowly, he started noticing that the directors of photography for the movies he liked were often the same artists.

“I was discovering that some films looked incredible — they had a very strong atmosphere,” Khondji recalls. “Then I found that the same name of one person was on one movie and then another movie, and I thought, ‘OK, this person really is very important.’” He mentions Gregg Toland, the legendary shooter of Orson Welles’ “Citizen Kane.”

But it wasn’t until Khondji attended NYU for film school that he dropped his aspirations for directing and decided on becoming a cinematographer. His film exercises leaned more toward the experiential than the narrative. He refers to them as “emotional wavelengths.”

“It’s really the director and the actors that trigger my desire to shoot a movie,” says Khondji. “The script is, of course, a great thing, but once I want to work with the director, I really trust them.”

Hearing Khondji speak about directors, it’s clear that he puts them in a privileged light — so much so that he makes a point of creating what he calls a “family” around them to ensure their success. This means he ensures the director feels comfortable with the gaffer, the dolly grip, the key grip, so that there’s no one on set that feels like a stranger.

With Aster, for example, their bond emerged from a shared voraciousness for film. The pair had several hangouts together before a job even entered the equation. Khondji is a defender of the polarizing “Beau Is Afraid,” his favorite of Aster’s movies. “Eddington” finally brought them together as collaborators for the first time.

“Ari and I have a common language,” he says. “We discovered quite early on working together that we have a very similar taste for dark films, not dark in lighting but in storytelling.”

Joaquin Phoenix, left, and Pedro Pascal in the movie “Eddington.”

(A24)

While scouting locations in Aster’s native New Mexico, he and Khondji came across the small town where the Coen brothers’ “No Country for Old Men” was filmed. And though they both revere that arid 2007 thriller, they wanted to get away from anything tied to it, so they pivoted again to the community of Truth or Consequences.

Khondji recalls Aster describing his film, about a self-righteous sheriff (Joaquin Phoenix) in a grudge match against the mayor (Pedro Pascal), as “a European psychological thriller on American land.” For the cinematographer, the movie is “a modern western.”

“We wanted the exterior to be very bright, like garishly bright, like the light has almost started to take off the color and the contrast a little bit because it’s so bright, never bright enough,” explains Khondji about shooting in the desert.

For Khondji, working Aster reminded him of his two outings with Austria’s esteemed, ultra-severe Michael Haneke, with which the cinematographer made the American remake of “Funny Games” and “Amour,” the latter on which he discovered a “radically different kind filmmaking” where “everything in the set had to have a grace of realness.”

“‘The color is vivid in a way that it isn’t in any of his other films,” says Aster about the quality that Khondji brought to “Amour,” Haneke’s Oscar-winning film.

Still, after working with some of the world’s most acclaimed filmmakers on features, music videos, commercials and a TV show (he shot Nicolas Winding Refn’s 2019 “Too Old to Die Young” and became infatuated with the San Fernando Valley), Khondji prefers to be reinvigorated by younger artists challenging the rules.

“‘Uncut Gems’ was like turning a page for me in filmmaking,” he says, calling out to Josh and Benny Safdie. “These two young filmmakers were making films in a different way. And the fact that I could keep up with them — they are in their 30s — psychologically, it gave me a lot of strength.” Khondji also shot Josh Safdie’s upcoming “Marty Supreme,” out in December.

Is there a visual signature that defines Khondji’s work? Perhaps, even if he doesn’t consciously think of it. A lushness, a preference for olive greens and blacker-than-black shadows. An intense fixation on color in general. There are also aesthetic preferences that Aster noticed from their work on “Eddington.”

“Darius and I hate unmotivated camera movement,” Aster says. “But there are certain things that never would’ve bothered me compositionally that really bothered Darius, and now they’re stuck in my head. For instance, Darius hates it when you cut off somebody’s leg, even if it’s at the ankle. A lot of Darius’s prejudices have gone into my system.”

Khondji concedes to these particularities, yet he doesn’t think in rigid absolutes.

“You have a rule, and then you decide this is the moment to break the rule,” he says, citing the rawness of the films of French director Maurice Pialat or how actor Harriet Andersson looks directly into the camera in Ingmar Bergman’s 1953 “Summer with Monika.”

He recently watched Ryan Coogler’s box-office hit “Sinners” without knowing anything about its premise beforehand. “People who know me know that I don’t like spoilers,” he says. “I’m very cautious with film reviews. They are very important, but at the same time, I don’t want to know the story.”

Khondji had never seen one of Coogler’s films, but was impressed. “I really enjoyed it,” he says. “After I watched it I wanted to know who shot the film, but I enjoyed the actors so much and I love just being a real member of the audience.”

It might surprise some to learn that Khondji’s initial interest in seeing a film is unrelated to how it looks or who shot it.

“When I watch a film people say, ‘Oh, did you notice how it was shot?’ And I don’t really go for that,” he says. “I mostly go to watch a film for the director.”

These days, his wish list includes the opportunity to shoot a proper supernatural horror film (Aster might be handy to stay in touch with) and for a company to make a modern film-stock camera. Khondji is not precious about format but believes shooting on film should stay an option as it is the “natural medium” of cinema.

He tells me how much he loves going to the Egyptian Theatre in Hollywood. “It’s really like a shrine for me,” he says, recalling seeing Alfred Hitchcock’s “Vertigo” there on true VistaVision.

“It was an incredible emotion,” he adds. “Like the emotion I had when I grew up with my dad, when they would take me to see big films in the cinemas where the ceiling had stars to make you dream even before the film started.”

That dream is what Khondji is still chasing, in the cinema and on set.

Iran has re-emerged at the centre of international attention, following Israeli attacks on the Middle East’s second-largest country on June 13.

Stretching from the Caspian Sea in the north to the Gulf of Oman in the south, Iran’s landscape is as varied as its history, with key access to critical waterways, including the Strait of Hormuz, through which 20 percent of the world’s oil flows.

Iran’s history spans millennia, making it one of the world’s most ancient and culturally rich nations, continuously inhabited and influential throughout history.

In this visual explainer, Al Jazeera provides a snapshot of Iran’s geography, key cities, population makeup, and ethnic diversity.

Iran at a glance

With a population of 92 million, Iran is the 17th-largest country in the world by population and land area.

Iran’s nominal gross domestic product (GDP) is $418bn, ranking it 36th in terms of the economy size. It has an unemployment rate of about 7.2 percent.

The country’s adult literacy rate is 89 percent, with youth literacy nearing 99 percent, though these rates vary between rural and urban areas.

The country is rich in oil and gas, ranking as the world’s ninth-largest oil producer and third-largest natural gas producer.

How big is Iran?

Located in Western Asia, Iran is the second-largest country in the Middle East after Saudi Arabia and the 17th-largest in the world, covering approximately 1.65 million square kilometres (636,000 square miles).

Iran shares land borders with seven countries, the longest being Iraq, followed by Turkmenistan, Afghanistan, Pakistan, Azerbaijan, Turkiye and Armenia.

Iran covers about one-sixth the equivalent land area of the United States, nearly as large as the state of Alaska.

It is about one-sixth the size of Europe, about one-fifth the size of Australia, roughly half the size of India and about 80 times larger than Israel.

Where are Iran’s main population centres?

Most of Iran’s 92 million people live in the western half of the country, where the terrain features rugged mountains alongside fertile valleys and river basins that sustain much of the population.

With 9.6 million inhabitants, Tehran has been the capital since 1795 and is the country’s largest city. Situated beneath the Alborz Mountains, Tehran’s history dates back more than 6,000 years.

Mashhad, in the northeast, is Iran’s second-largest city with 3.4 million people and a history spanning more than 1,200 years. It is a major religious and cultural centre and is home to the Imam Reza Shrine, which brings in millions of pilgrims from around the world.

Isfahan, the third-largest city, is home to some 2.3 million people. More than 2,500 years old, the city was once the capital of the Safavid Empire, which lasted from 1501 to 1722. Isfahan hosts major educational institutions and is a centre for textiles, steel and manufacturing, along with nuclear and aerospace industries.

Other populous cities across Iran include: Shiraz (1.7 million), Tabriz (1.7 million), Karaj (1.6 million), Qom (1.4 million) and Ahvaz (1.3 million).

Demographic breakdown

Nearly 60 percent of Iran’s population is below the age of 39, according to figures from the United Nations Statistics Division.

The country’s median age is 33-34 years, and about 77 percent of Iranians live in urban areas.

The largest age groups in Iran are those aged 30-34 and 35-39, meaning most of the population was born after the 1979 Islamic Revolution that toppled the Pahlavi Shah regime.

However, there has been a significant emigration of Iranian professionals in recent years, largely driven by economic hardship.

What are Iran’s ethnicities?

Iran is a highly diverse country, both ethnically and culturally. Persians make up approximately 61 percent of the population, while significant minority groups include Azerbaijanis (16 percent), Kurds (10 percent) and others, such as Lurs (6 percent), Arabs (2 percent), Baloch (2 percent) and Turkic groups (2 percent).

Iran is predominantly Shia Muslim, making up about 90 percent of the population, while Sunni Muslims and other Muslim sects account for roughly 9 percent. The remaining 1 percent includes roughly 300,000 Baha’i, 300,000 Christians, 35,000 Zoroastrians, 20,000 Jews, and 10,000 Sabean Mandeans according to the Minority Rights Group.

In border regions such as Kurdistan, Khuzestan and Sistan-Baluchestan, ethnic groups play a key role in shaping the country’s ethnic and religious diversity as well as its regional politics.

While Persian (Farsi) is the official national language, many regions across the country speak a variety of other languages.