Few creators have been able to work with the composition of the film image as precisely as Abbas Kiarostami, the leading personality of Iranian film. His black-and-white short, unfolding in the shady, deserted streets of a Mediterranean town, was intended as a clear interplay of static and kinetic compositions. Unfortunately, death intervened and the director’s colleagues completed the movie using Kiarostami’s carefully framed photographs of old, secluded spots, and then they added effects. The finished product presents an errant ball that takes a headlong journey down seemingly endless stairways, disturbing only the occasional animal observer. It’s as if an invisible and silent soccer match full of unexpected passes is being played in the alleyways of a town emptied by the afternoon siesta. This magical series of “animated” photographs represents the clear essence of Kiarostami’s personal mission as a filmmaker, photographer, and poet, but it is also a splendid remembrance that lodges deep in our visual memory.