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The tendencies towards reflexive narrative excess and anti-narrative are kept in exhilarating balance, culminating in one of the most celebrated, yet most enigmatic final shots in modern cinema.

Kiarostami manages to insert some compelling subtexts in Through the Olive Trees, which has more of a driving force then And Life Goes On (Jafar Panahi, who is on hand as an AD here, would utilize many of Kiarostami’s tactics in his own later works, such as Taxi and 3 Faces, where director and actor become collapsed with an alternate persona of character)

Once again Kiarostami's use of the surrounding mountainous landscape is visually as well as dramatically breathtaking, culminating, as his previous film did, in an extended take that films the actors from such a vast distance it becomes a kind of comic and cosmic overview of the world. Like the brief suppression of the sound track toward the end of Homework, this shot reveals an almost mystical, open-ended sensibility that carries the film to a deeper, more mysterious level.