The relationship between the West and the non-West has always changed and been redefined. Indeed, for a dual movement to take shape, a non-Westernized discourse must first be formed. These filmmakers first recognize the dominant Western discourse and then decide not to follow it. Then they look for non-Western filmmaking techniques to employ. Non-Western voices are now heard loud and clear in the practical and theoretical realms of film, and they make a difference in the world. To discover these sounds, one must examine each one individually, from an equal position, and within their own cultural context.

In Iranian cinema, successful examples of cinema De-Westernizing can be found. Abbas Kiarostami's cinema, by relying on the ancient roots of Iranian culture, has been able to distance itself from the current Western trend and transcend national boundaries. Kiarostami's distinguishing feature from other directors is his exclusive style of filmmaking. A method for observing and studying many "Iranian" components. His emphatic references to the homeland and the motherland's reflection in his works confirm that he aimed to create a local, indigenous, and national style of filmmaking; conscious and thoughtful methods.

This study attempts to examine the progression of Abbas Kiarostami's filmmaking using the montage method in order to identify the characteristics that give his films a national identity. It also attempts to answer questions such as: What are the technical, structural, and content components of Abbas Kiarostami's works from the point of view of De-Westernizing? What are the similarities between Kiarostami's films and Ta'ziyeh's? This research demonstrates that Abbas Kiarostami used Ta'ziyeh's techniques such as non-actors, communication with the active audience, improvisation, and the director's presence on stage.