This is why, in the cinema, we may refer to the film's diegetic world.

In Dabashi, the diegetic world and the reality of post-revolutionary Iran exist merely side-by-side, whereas here they are put into relation.

This narcissistic gaze is paradoxically coupled with the more distanced, scopophilic pleasure of watching the film's apparently private diegetic world undetected, the two combining to construct "a beautifully complementary fantasy world" focused on the passive, narrative-arresting female form.

Steve Rybin has commented that the music is not intended to correlate with the intensity of the action portrayed alongside it, but rather to signify when the viewer should react with a "degree of aesthetic distance" from the film, or be "suture[d] into the diegetic world" more closely.