ABSTRACT
It is generally agreed that films are windows on human experience and emotions. After the Second World War, cinema began disseminating the ruins of wars and conflicts and their correlative dark 'interior landscapes' created by human fears and the mind-blowing experiences of the century. To understand some of the values of cinematic space, as well as their influence on the perception and cultural shaping of the world, the author discusses Abbas Kiarostami's film The Wind Will Carry Us. By analysing some sequences within, she clarifies how the common locations become 'other spaces'. Produced in 1999, Abbas Kiarostami's film The Wind Will Carry Us was as controversial as its director. According to Alberto Elena, the film was "the first of his full-length features that had the benefit of foreign investment" during the troubled years of the post-Islamic Revolution. Kiarostami's films were shot on location in the Iranian hills.
