作为伊朗电影的旗手，阿巴斯通过他出色的电影作品不仅在伊朗影坛独树一帜，也在世界影坛引起了广泛关注，从他的电影里我们能够看到一个真实的伊朗，他的表达方式看似简单，但却充满了丰富而深刻的思想内涵，在看他的电影时观众总是不经意间将现实与电影形成对立，被电影中的人物的语言、精神所感染，从而产生强烈的情感共鸣，并由此获得心灵上的净化。阿巴斯以特有的冷静观察，通过其简约质朴的视听语言真实地展示出他对于人性、生命的透彻理解，其对本土文化的认同与坚持，对生命的尊重与热爱都通过他的影片一览无余。本文通过纵向与横向交叉，文化与形式融合的立体式研究。一方面按时间顺序梳理阿巴斯乡村三部曲《何处是我朋友家》《生生不息》《橄榄树下的情人》。另一方面从整体的角度对阿巴斯的叙事表现手段进行横向的比较，揭示其中恒定的特征。从文化和形式两方面，纵向和横向两个方向建构起全面立体的阿巴斯“乡村三部曲”电影叙事研究。分析阿巴斯在叙事时空以及叙事结构上所体现出来独到之处，阐释阿巴斯电影的美学特征。

As the film's standard-bearer of Iran, Abbas Kiarostami films through his excellent film not only unique in Iran, also attracted wide attention in the international film from his movie we can see a real Iranian, and his expression Appears to be simple, but full of rich and profound ideological content, in the audience watching his movies always inadvertently antithesis of reality and the film was the language of the characters in the film, the spirit of the infection, resulting in a strong emotional Resonance, and thus obtain spiritual purification. Abbas cool to the unique observation, through its simple rustic visual language to show his true human nature, life, perspective depth, its focus on its cultural identity and uphold the respect and love for life through his films list It demonstrated. In this paper, longitudinal and transverse cross-cultural fusion and form three-dimensional study. Abbas, in chronological order while combing rural trilogy Where is the friend’s home And Life Goes on Though the olive trees. On the other hand from the perspective of the overall narrative of the performance of Abbas horizontal comparison means, reveal the constant features. Both from a cultural and form, both vertical and horizontal directions from the full three-dimensional construction of Abbas "rural trilogy " of film narrative. Abbas and the narrative analysis of narrative structure of space-time reflected on the unique, Abbas explained the aesthetic characteristics of the film.