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The article addresses the relationship between cinematic description and narration in four films by Abbas Kiarostami. With the contribution of Christian Metz’s semiology and Gilles Deleuze’s post-structuralist critique, we identify some dynamics of meaning that flow between descriptive and narrative procedures. On semiology’s side, there’s a profound relationship between film studies and narrative studies, leaving description with a minor role. On the side of deleuzean taxonomy, narration and description cohabit according to the behavior of each image regime. In our analytic sketches, Kiarostami’s films produce variations inside both theoretical bundles.

Uma praia, uma pausa ou Da descrição no cinema de Abbas Kiarostami