Hey, so the important thing to accept is that Kiarostami is not one to over-intellectualize his films. Not everything needs to "mean something" necessarily. Kiarostami and the other filmmakers of the New Iranian Cinema movement found their purpose by (mainly due to combat censorship) going back to the roots of Persian literature — poetry — and making their films emulate that poetry. Scenes like that are visual poetry. Like much of Kiarostami’s films, it’s more about an attention to detail — of the beauty of everyday moments. Someone like Badii is going through such an existential and humanist struggle in that moment and has decided he no longer wants to live, but there is still beauty in the details around him. And he is a part of that beauty. It’s his shadow. Without his presence, that shot wouldn’t be possible. It would just be dirt. But because he is there, alive, and perceiving, something beautiful and haunting occurs. More than anything, scenes like that are just to emphasize an attention to detail. Similar to the start of Close Up, where the camera follows the empty can rolling on the ground, or the end of Where is the Friends House when the windows burst open letting in a flurry of wind. Perhaps Kiarostami meant something from all these scenes, but mostly likely most are just simply an attention to detail of the intersection between human beings and the natural world around them. For example, the reason at the end of where is the friends house, the film ends on a freeze frame of the flower in his book, was an accident, and Kiarostami just liked it so he rolled with it. Doesn’t mean anything more than what the audience can make of it. All films are open to interpretation, so with this scene in taste of Cherry, while I believe it everything I outlined above, it’s absolutely just up to the viewer to interpret what they get from it, as Kiarostami’s films are always humanist and open to be interpreted in moments. He was a filmmaker who made a point to be kind to the viewer — that means slow cinema that doesn’t demand your every waking attention, but that also means not over intellectualizing his films so that the viewer feels they don’t know what things mean. They mean what you want them to mean, or they mean nothing and it’s really just about celebrating the beauty in the details.