In this article, we contend that, in the fields of art and visual culture, the Global South is both an elaborate lie and a radical opportunity for transformation. We investigate Kiarostami’s Close-up alongside Lacan’s psychoanalysis to show how Close-up’s filmic narrative evokes the same ‘polyvalence’ and ‘slipperiness’ as the notion of the Global South. We argue that Kiarostami’s Close-up retroactively changed Sabzian’s fate, and in so doing, Kiarostami’s re-staging actively overwrites History itself. We read the same narrative move in the concept of the Global South to suggest that the Global South adopts the Kiarostamian strategy of infidelity as reality by using fiction to deploy a vision of the future to transform the past.



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