Abbas Kiarostami’s filmmaking draws on the aesthetics of modern Persian poetry, especially the poetry of Forough Farrokhzad and Sohrab Sepehri. In his films, Kiarostami, impacted by Sepehri and Farrokhzad’s “de-politicized” poetry, “de-experiences” our perception of reality. Kiarostami aestheticizes everyday life by employing non-manipulative film stylistics. In films such as Through the Olive Trees and Where Is the Friend’s House? he uses a minimalist approach by employing amateur actors and children, depth of field, and minimal camera work to enhance Sepehri’s philosophy of novel outlook. Through a masterful intermingling of poetic discourse with his film sensibilities, Kiarostami has achieved a profoundly humanist approach to cinema. Kiarostami mixes the two genres of documentary and fiction to remind the audience of the artificiality of constructing a factual point. To attain this goal, he sometimes uses an ironical and witty cinematic language that is harshly self-critical and self-reflexive. Kiarostami is a poet/philosopher who “writes” his poetic films with camera.