 Kiarostami 's style is notable for the use of long shots , such as in the closing sequences of Life , and Nothing More ... and Through the Olive Trees , where the audience is intentionally distanced physically from the characters to invite reflection on their fate . Taste of Cherry is punctuated throughout by shots of this kind , including distant overhead shots of the suicidal Badii 's car moving across the hills , usually while he is in conversation with a passenger . The physical distancing techniques stand in juxtaposition to the dialogue , which always remains in the foreground . Like the coexistence of private and public space , or the frequent framing of landscapes through car windows , this fusion of distance with proximity has been seen as a way of generating suspense in the most mundane of moments . 
