[Final Whistle] condemns the gap between law and justice. Sahar, a documentary filmmaker currently working on a television film, is looking for Maliheh, necessary for some re-shoots. Sahar finds Maliheh with the help of Moradi, who has a secret crush on Maliheh, and learns her desperate story: she has been trying to earn money by selling one of her kidneys for her imprisoned mother, awaiting trial for murder. Sahar cannot just leave her like that and she decides to help her. Then a new truth reveals itself. Director Niki Karimi does not draw a clear line between offenders and victims as a dichotomy. Maliheh’s murdered stepfather is the only clear offender in this story; the stepfather’s family and Maliheh’s mother are simultaneously offenders and victims, and the lapse between the law and justice derives from such truths. The fact that Sahar is a documentary filmmaker in this film provides the background of why she became interested in Maliheh’s story and why she decided to aid her. This is also what makes this film a documentary. (KIM Ji-seok)