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.