<Taboor> has too many science fiction elements to be considered a documentary, yet it is too realistic to be total fiction; Iranian director Vahid Vakilifar’s first feature, <Gesher>, also boasted a strong documentary tone. His second feature begins at the strange home of an old man. Aluminum mats cover the entire space and the old man goes out wearing a custom made aluminum suit topped with a few layers of clothing. In the darkness of the city, the old man does various odd jobs: He fixes a car that suddenly stopped; he fixes machines in the basement of a building; he operates some kind of machine in the projection room of a 3D cinema; he hunts cockroaches; he even lets someone take advantage of him to indulge their hobby?shooting. At dawn he finally rests. Yet the moment most symbolic of his life is the elevator scene where the he gets trapped. The camera observes the process of his escape without editing. As announced at the beginning, <Taboor> is a film about fathers, which a son dedicates to his mother. (PARK Jinhee)