DCP. One might try to find rhymes with Kiarostami's previous films, especially with those of the last phase, who have gone on to a pure structuralism, and obviously in this sense, several connections can be found. But this does not legitimize, even posthumously, this work's ugliness in figurative terms, whether in image/computer animation, whether in its structure. Not liking it doesn't mean not liking Kiarostami.
Abbas Kiarostami's final film is one final masterpiece. This one expands on the themes first brought up in Five for Ozu, to create a hauntingly quiet film about the circle of life and inevitability of death.
Kiarostami's late style, like Kate Bush's, is pared down and distilled into breathtaking snowscapes and otherworldly scenes that decenter human activity, and focus instead on horses, cows, deer, sheep, birds...this posthuman world is at the same time infused with such palpable humanism. This is not so much a film as a series of moving images radiant and resonant with love, curiosity, and wonder at life itself.