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.
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.
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.