Où est La femme dans les films de Kiarostami ?
Where is The woman in Kiarostami's films?

Summary/Abstract: The aim of this paper is to analyse femininity as a cinematic depiction of uniqueness in three of Abbas Kiarostami’s films, Certified Copy, Like Someone in Love and a short film included in the anthology film Tickets, investigating the problem of universality and individuality in close connection with Jacques Lacan’s formula “The Woman does not exist”. Following the psychoanalytical approach that leads us to the problem of feminine jouissance and the way women escape from the phallocentric generalisation, we will emphasize the philosophical relevance of three recurring themes in Kiarostami’s films: woman’s identity, past-present continuity and artwork originality. This approach will allow us to grasp the problem of time, uniqueness, continuity and perception in Husserlian phenomenology and Gadamer’s philosophy of art, alongside the critique of truth in Heidegger’s ontology as well as in Austin&Searle’s “speech act theory”. The nodal point of these theories will be a concept of reality involving the consciousness and the interpretive acts of a subject and the woman’s role in expressing originality

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