A famous actor and director visit a mountain village to reveal the authenticity of a video sent by a young girl. The visit confirms the issues of gender, rural conservatism, different languages, and so on. However, the social and cultural barriers observed in the village appear as a kind of timeless folktale world exempt from criticism. On the other hand, the movie-driven drama is desperately asking for a solution to the limitations the barriers create. The world that appears here does not move on whether it is true or not. On a narrow, one-lane mountain path, two cars honk to pass each other on a hill that only appears when the two cars meet. The girl′s friend manages to find her way in a discriminatory and prejudiced town. Then, what about the girl in the video? What is the actor′s judgment based on? What role can a director play when he watches or waits? Although the movie tries to take a critical view of Iranian society, it also shows the smoothest route is to go with the wisdom of society. (Chai HeeSuk)
Born in 1960 in Tehran, Panahi joined the Iranian New Wave with his feature debut The White Balloon (1995) when it won the Caméra d′Or at Cannes. His films The Mirror (1997) The Circle (2000) and Offside (2006) won major prizes at Venice, Locarno and Berlin. Although banned from filmmaking he continues to make award-winning films, such as Taxi (2015).