Existential journey in Abbas Kiarostami's cinema: Sarch for meaning and inner discovery

The concept of the road is not merely a physical phenomenon but also a profound spiritual and metaphysical matter. Throughout human history, the road has been an inseparable part of our existence, symbolizing a process that ultimately culminates in death. In this context, the road serves as both a physical and metaphysical carrier of experiences that leave indelible marks on an individual's life. In literature, mythology, and religion, the road emerges as a powerful metaphor that helps to articulate the processes of inner transformation and change. For instance, the story of Simurgh offers a compelling example of this concept. From a religious perspective, the Prophet Muhammad's ascension (Mi'raj) and the pilgrimage to Mecca (Hajj) further deepen the understanding of the road as a significant spiritual journey. Joseph Campbell's *The Hero's Journey* and Vladimir Propp's studies on the morphology of folktales also highlight the road as a metaphor for transformation and personal evolution. This research aims to analyze how the motif of the road functions as a meaningful metaphor in Abbas Kiarostami's films and how it reflects the individual's existential quest and inner transformation. Through narratives built around the theme of journeys, Kiarostami draws the audience into the characters' life experiences and their existential dimensions, offering a deeply immersive cinematic experience. Abbas Kiarostami masterfully employs the road metaphor in his cinema to portray the process of understanding life and exploring existential realities. By taking the audience on both a visual and intellectual journey, this approach becomes a cornerstone of Kiarostami's filmmaking. His characters are perpetually in search of something, embarking on journeys where some seek the meaning of death while others chase the essence of life. This thesis aims to explore how the concept of the road is addressed in Kiarostami's films and its impact on the individual's existential transformation. In this context, films such as Taste of Cherry, Where Is the Friend's House? Life, and Nothing More, Through the Olive Trees, and The Wind Will Carry Us will be examined in detail.