[Amin] portrays determination of a musician trying to preserve traditional music. For his doctorate dissertation for the Kiev Conservatory, Amin does research on the endangered music of the Qashqai region in Iran. As he participates as the main character in the film, he seriously asserts the importance of preservation and values of culture. However, the camera slowly observes the flip side of his personal life. Like music that rings in desolate fields and on street corners with heartbreaking melodies, Amin’s life on the verge of financial crisis also loses vitality. Two documentaries about musicians and traditional music co-exist in [Amin]. What connects these two different stories is the character of Amin. This documentary does not embroider his obsession with research and difficulties in life as musical passion, but it does observe them with compassion. Therefore, [Amin] is not a point of contact for two different documentaries, but a report on a delicate relationship between the camera and its object. (CHO Young-jung)