In a Q&A at a 2014 Syracuse University screening, Kiarostami said, "the film was banned in Iran for being a suggestion for suicide. But in truth, it is a suggestion to live." Of the filmmakers facing censorship in Iran, Abbas Kiarostami's output at first feels like the least overtly radical. Where fellow Iranian filmmakers Jafar Panahi and Bahman Ghobadi flirt with protest art and the problem film in ways that give their respective house arrest and exile understandable context, Kiarostami nudges societal foundations by throwing his own authority as a storyteller into question. He more quietly reflects on structural power. With "Taste of Cherry," as with many of his other masterpieces, the tools for any such work are extended, like an olive branch, to the spectator in a way that ensures its power is much harder to pin down and snuff out.