80
The New York Times by Dana Stevens
An investigation, at once lucid and enigmatic, of exile, loneliness and the fragile possibility of friendship.
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100
Christian Science Monitor by David Sterritt
The performances of this quiet Iranian drama are utterly genuine, and the story is a delicate blend of slice-of-life realism and soft-spoken social commentary.
75
New York Daily News by Elizabeth Weitzman
Yektapanah's stripped-down methods --remote setting, a cast of locals, the sparest of scripts -- are used so effectively, it quickly becomes clear that he's most concerned with the similarities rather than the differences between people.
90
Enriches a deceptively anecdotal plot with a combination of observational camerawork, strong narrative rhythms, and deft characterization.
50
New York Post by Jonathan Foreman
Agonizingly slow-moving and talky, it consists primarily of conversations between two men in a truck.
60
This gentle and somewhat slow moving romantic fable has a quiet sweetness all its own, and is thankfully free of the inscrutable ponderousness that often infuses the films of Yektapanah's mentors.
75
Chicago Tribune by Michael Wilmington
May strike some audiences as even more real than Kiarostami's work, because the story is so luminously open. Watching it, we enter, without barriers, a world.
80
Chicago Reader by Ronnie Scheib
Hassan Yektapanah's first film attests to the deceptive simplicity of Iranian cinema, transforming the most minimal of props, scenes, and stories into a complex journey of discovery.