"Close-Up", for example, contains scenes from the real-life trial of a man charged with fraudulently impersonating a film director. To make the film, however, Kiarostami coaxed the antagonists to re-stage scenes occurring between them, including the arrest. While such a technique clearly precludes labeling the film as a documentary, by re-staging events between the deceiver and the deceived Kiarostami implicitly poses questions about the validity and significance of what the audience sees. Because these are the actual participants in a drama played out in criminal court, it dawns on the audience that these re-stagings are also part of the real life of these people, especially since both the impersonator and the family he fooled were interested in working in cinema. If these re-enactments constitute a kind of "evidence", this is less because they show us what took place to cause the arrest than because the audience is witness to a scene in which the actors are in fact continuing the story of their confrontation and/or reconciliation.