 Close @-@ Up , for example , contains scenes from the real @-@ life trial of a man charged with fraudulently impersonating a film director . To make the film , however , Kiarostami coaxed the antagonists to re @-@ stage scenes occurring between them , including the arrest . While such a technique clearly precludes labeling the film as a documentary , by re @-@ staging events between the deceiver and the deceived Kiarostami implicitly poses questions about the validity and significance of what the audience sees . Because these are the actual participants in a drama played out in criminal court , it dawns on the audience that these re @-@ stagings are also part of the real life of these people , especially since both the impersonator and the family he fooled were interested in working in cinema . If these re @-@ enactments constitute a kind of " evidence " , this is less because they show us what took place to cause the arrest than because the audience is witness to a scene in which the actors are in fact continuing the story of their confrontation and / or reconciliation . 
