Back in the summer of 2007, a friend and I rented a couple movies: the Chris Rock comedy I Think I Love My Wife (which was improbably based on Éric Rohmer’s Chloe in the Afternoon) and Abbas Kiarostami's The Wind Will Carry Us. I assumed that the Chris Rock movie would be vastly inferior but, given the narrative propulsion of most Hollywood movies and the charisma of its star, writer, and director, at least entertaining and intermittently funny. I expected the Kiarostami film, meanwhile, to be masterful, majestic, and thought-provoking but occasionally trying on one's patience. These presumptions were the result of the binary ways of thinking that many critics, distributors, and filmmakers have subscribed to over the years: movies are quick and fun and entertaining, films are substantial and artful but