all looks like reporting, but everything underscores ("indique à l'évidence") that it is the fiction of a documentary (in fact, Kiarostami shot the film several months after the 1990 earthquake), and that it is rather a document about "fiction": not in the sense of imagining the unreal, but in the very specific and precise sense of the technique, of the "art" of constructing images. For the image by means of which, each time, each opens a world and precedes himself in it ("s'y prédède") is not pregiven ("donnée toute faite") (as are those of dreams, phantasms or bad films): it is to be invented, cut and edited. Thus it is "evidence", insofar as, if one day I happen to "look" at my street on which I walk up and down ten times a day, I construct for an instant a new "evidence" of my street.