Kiarostami's films often reflect upon immaterial concepts such as the soul and afterlife. At times, however, the very concept of the spiritual seems to be contradicted by the medium itself, given that it has no inherent means to confer the metaphysical. Some film theorists have argued that "The Wind Will Carry Us" provides a template by which a filmmaker can communicate metaphysical reality. The limits of the frame and the representation through dialogue with another that is not represented, physically become metaphors for the relationship between this world and those that may exist apart from it. By limiting the space of the mise en scène, Kiarostami expands the space of the art.