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It doesn’t take long to find application of Kiarostami’s duplicity of the image. In fact, it’s a theme he introduces in the very first shot of the film, setting the tone for the interplay between image and language that would carry the remainder of the film.
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This was the one Kiarostami film in this series I hadn’t already seen. After watching it, I didn’t know why it opened with offscreen dialogue. After listening to you, I still don’t. Most of the film isn’t like that, and his earlier work like the Koker trilogy isn’t either, so I don’t think it’s matter of him not being from “Hollywood”.
This was not the final Kiarostami feature. He released 24 Frames in 2016.