Anna Karina's tearing up at the sight of Renée Jeanne Falconetti's performance as Joan of Arc in Carl Dreyer's is both a perfect example of the exact power Kiarostami alludes to, and a fascinating Russian Nesting Doll of the factors that exist to create our relationship to emotive catharsis and release through movie going. Does Karina see herself in Joan? Probably not, does she recognize in the aesthetics of Joan’s pain a certain appeal to her own, maybe? Whatever the reason Anna's own release as a response to stimuli that stimulated her own subjective experience, is so near objectively powerful that it itself became as recognizable and powerful a moment as the film it pays homage to and the particular scene that she was watching. The experience so relatable watching it becomes an experience itself. Nonetheless the factors around it that lead up to it , our own collective recognition, be it conscious or not that’s the killer knockdown, that’s the “Love TKO”. Much like a TKO it’s the build up that matters, the set ups, the small build-up of hits to the body, and wear on the mind that setup the knockout. Whether it’s an aggressively ugly cry or a suspended tear in the corner of the eye, it is what the storytelling has set up before that matters most. It’s the “everything around it" that Kiarostami spoke to. When I watch “Castaway” it’s the everything around Hanks endearing relationship with an inanimate object that became the embodiment of Hanks journey, and a security blanket for his feelings of intense isolation and loneliness that created a directline of passage for which the tears could fall down. The sight of watching all that float away when we do not yet know if he's even going to make it, finds it own subjective nesting place in the cradles of our own recognition of feelings of abandonment, loss, loneliness, and fear. The cry itself is in my opinion not so much a choice as it is itself an almost involuntary and intrusive response. The director is after all an audience member as well, and the actor and director are actively, simultaneously conjuring, responding and creating the stimuli by which they will both respond to in a way that I believe provided them with their own sense of catharsis and release consciously or not. The result is Hanks breaking completely down, and Zemeckis recognizing the moment itself as a proper realization of the created moment by way of his response to it, his own version of “Kiarostami's “what he thinks is good” turns out to be a pretty universal experience of good, hell..GREAT.