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Sohrab Sepehri and Abbas Kiarostami are artists who could express their thought in the form of another language using the myths and symbols.  The most important considerations in their works are neutral symbols. In this paper, the authors tried to review the symbolic nature using comparative approach and Gaston Bachelard's theory. We analyzed Hasht Keteb and Kiarostami's movies, and found that the mythical structure and contents briefly express differences and commonalities in their works. The most applicant natural symbols widely used in these works consist water, air, soil and plants. The results of our study showed that Water and soil, in various forms, involve a dual role in poetry and cinema: both as a symbol of death and resurrection, and creation. Wind is the symbol of divine origin and evolution. Also it indicates the death and destruction. Plant is the symbol of cosmic tree. Symbolic imagery and mythical nature, in Kiarostami's films and Sepehri's poems, can affect the poetic spirit of two artists, which is result of thier familiarity with Eastern mysticism and also for being influenced by painting and photography skills.  

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From ancient times, poets and writers have used rhetorical techniques and indirect expressions to convey their concepts. The use of these techniques is one of the fundamental differences between artistic language and other common language types such as scientific language, that is the language that tries to convey the concept to the audience with the most explicit terms and far from ambiguity. In cinema as a modern art, which has a deep and inseparable relationship with literature, figures of speech always help cinematographers to convey the concepts. The cinematographers, knowingly or unknowingly, supported by the linguistic and literary culture in which they have been raised, use these devices to illustrate their purposes.
The role of literature in cinema can be examined at three levels of language, image, and content. This study, focuses on the images and the case of “Taste of cherry” directed by by Abbas Kiarostami as one of the most prominent Iranian artists in cinema in order to use the images, their role in conveying the concepts and figures of speech used in the film. Investigating figures of  speech in the image of a cinematic work makes the audience closer to the intellectual world of the filmmaker, reveals how his works interact with written literature, gives a deeper understanding regarding the link between the two arts, and shows the influence of the past written legacy in the cinema, as the most recent human art.

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Kiarostami’s unfinished cinema emphasizes the importance of audiences’ involvement in a movie by using postmodern images. Some essential points of critically reading his, so-called half-created cinema, could be summarized as self-reflexive style, diagrammatical perspectives, in-between narratives,and Individual minimalism. The main postmodern achievement of this cinema is focusing on the process of creating meaning through the experience of film. Furthermore, the close-ups function as separate independent units that are constantly generating their implicit affections. In this respect, Kiarostami’s unusual works are interpretable by Deleuze’ some neologism like affection-image. The films are some affective micro-dramas formed in a gap between the audiences’ receptions and the close-ups. Despite their postmodern reflections, unfinished movies have no strict disciplines that may limit the process of creating meaning. This paper attempts to present a new approach of reading Kiarostami as an increasing global interest.