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However, much of what viewers saw as avant-garde innovation may also be seen as making a virtue of necessity: the mix of documentary-style footage with fiction, landscape filmed without actors, entire movies set in automobiles as they moves around Tehran, and actors improvising with little or no script or direction.Iranian cineastes point to his film (2002) as a landmark in Kiarostami’s career and an important commentary on the situation of women in Tehran. Kiarostami’s art does not begin with a grand design that is then brought to fulfillment.In his strategy for engaging the audience in this inquiry is to obscure the nature of the relationship between his characters.An English author comes to an Italian town on a book tour.Akiko is a college student by day, and no hardened sex worker.Quite the contrary, she is a confused, vulnerable young woman.Most important are her son, who does a lot of complaining, and a prostitute.

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The film begins with a fixed camera looking into a café.

Shooting on location from the point of view of children, who need not be paid, made his work possible, avoided conflicts with the Islamic censors, and gave films such as his early Koker trilogy a more universal appeal—bleak but not existentially empty.

Many Iranians saw Kiarostami as embracing the theocracy and its censorship regime.

The films that earned him this reputation adopted the perspective of children in the villages of northern Iran. Kiarostami, who had begun his career under the Shah and the regime of Westernization, decided to stay on after the Islamic Revolution.

The theocracy was hostile to cinema, and many film houses were burned to the ground during the revolution, one with hundreds of people still in it.

He explains to his listeners his thesis, which holds that copies of works of art have value and that originals are in fact copies of something too.

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