Through The Olive — Trees- Abbas Kiarostami 'link'

Kiarostami, ever the trickster, refused to answer. But the beauty lies in the ambiguity. The final shot is shot from the director’s camera position—the camera that was filming the movie-within-the-movie. That means we are not seeing reality; we are seeing the footage of the fictional film. In other words, the happy ending (if it is happy) isn't "real life" for Hossein and Tahereh; it is a take that the director can choose to use in his film.

In that silent chase, Kiarostami captures the entirety of human longing. We are left in agonizing suspense: Will she stop? Is this real? Is this still the movie? Through the olive trees- Abbas Kiarostami

For the entire duration of the shoot, we watch Hossein struggle. He pleads with her, he recites poetry, he argues that the earthquake that killed 50,000 people should have shattered the class barriers that keep them apart. He uses the film’s script as a Trojan horse to confess his actual feelings. Tahereh remains a silent, impenetrable wall of indifference. Kiarostami, ever the trickster, refused to answer

In the end, Through the Olive Trees is not a love story, nor a documentary about an earthquake, nor a satire of filmmaking. It is all three at once—a shimmering, paradoxical object that insists reality is always more complex, and more fragile, than any fiction can capture. That means we are not seeing reality; we