Made with startling economy, Kiarostami finds a million frames we live in. It's as expertly designed a film as Rainer Werner Fassbinder's The Bitter Tears of Petra von Kant (1972), which convinces one that the German master could shoot in one room forever and never run out of brilliant compositions, and here Kiarostami does the same, from inside vehicles, and in the reflections of windshields, somehow hinting at the myriad possibilities built into every moment of our lives.