 This relationship between distance and intimacy , between imagery and sound , is also present in the opening sequence of The Wind Will Carry Us . From the outset , Kiarostami formulates a dialectical relationship between image and sound . The camera moves from long shots of the Land Rover winding its way through the mountain paths to extreme close @-@ ups of the film ’ s protagonist . Concurrently , Kiarostami aurally represents an expanse that extends far beyond what the viewer can see at any moment , even when the camera remains a considerable distance from the subject matter on @-@ screen . Kiarostami establishes numerous spaces beyond the visual field by fragmenting his soundtrack to include other sounds such as birds singing , dogs barking and electronic devices such as cell phones and radios blaring in the distance . By referring to characters the viewer does not see or hear , Kiarostami widens the scope of his films . 
