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The emotion he evokes is pity.
For whatever reason, he evokes strong feelings in his critics.
Rather, he evokes a horizontal, flattened-out globalised art world.
The Nazi hell he evokes is not so much recalled as rendered, whole and alive.
And he evokes with uncomfortable clarity the self-imposed poverty and discomfort of the Orwell household.
In a stirring passage, he evokes the seemingly rude existence of a day laborer.
But each time he evokes a simpler golden age, he dismantles and demythologises it.
He evokes Paul's bank routine with the same accuracy accorded his first forays into literary journalism.
In silent films, he evokes this off-screen space by means of sound.
But he evokes the glamour and strangeness of silent movies without entirely capturing the full range of their power.
Amazingly, Kiarostami's main subject is sex, which he evokes in sly, infinitesimal touches worthy of Lubitsch and Hawks.
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Justyna Jupowicz-Kozak
CEO of Professional Science Editing for Scientists @ prosciediting.com