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.