Abstract
It is widely accepted that Abbas Kiarostami’s cinema revolves around the representation of the gaze. Many critics argue that he should be considered a late modernist who repeats the self-reflexive gestures of modernist European cinema decades after they were first introduced. The present paper will contradict this assertion by investigating the problematic of the Kiarostamian gaze and analyzing the perceptual side of the act of looking. I will argue that instead of focusing on the gaze of the spectator directed towards the filmic image, he exposes a gaze that is fully integrated into the reality to be captured on film. The second part of the paper will explain this by linking the concept of gaze to the Lacanian concept of the order of the Real. Finally, I will contextualize all this by discussing the Iranian director’s position between Eastern and Western traditions of representation.