Hello?
Hello, hi.
Hi. How's it going?
Fine. How are you?
Thanks. What's up?
Not much. l'm having breakfast.
Bon Appetite!
Are you outside office?
Yes. Somehow l'm making an effort.
So you're busy.
Kind of.
Listen...
l'm stuck in a problem.
What did you do about that thing?
l'm about to find out more
and l'm trying to talk with a couple of guys.
ActualIy, l'm waiting for the right moment to start.
Then it hasn't started yet?
l'm taking a chance here and there.
l mean l haven't started serious production yet.
Just doing some things for now.
Listen. l...
l can't say much on the phone. Can you come to my place?
What is it? Anything happened?
No, don't get worried.
Just come over. l have a few ideas l want to tell you about.
Come here and we'll see what can be done.
All right. l'm somewhere but l'll try to get there quickIy.
So you'll be here in about half an hour, right?
l hope so. There's the traffic, but l'll try.
l'll see you then.
Sure.
Just don't tell anyone you're coming here, OK?
ls there a problem?
No. Don't be worried. Just come over.
Bye.
See you.
THIS IS NOT A FILM
Hello, Jafar?
Are you awake?
l wanted to say that Panah and l are going to your mum's.
and we'll give her New Year present, and then maybe...
we'll go together to your sister's to give her present too.
You want to talk to dad? Hold on...
Dad, listen. l turned the camera on and placed it on the chair.
l just think there isn't much charge Ieft in it. The battery might run out.
Bye.
Don't get worried if we're home late.
l'll try and call you again.
Oh, by the way, don't forget Igi's food.
Get out of bed right now.
lgi's food is on the balcony. Just wash it well.
Our daughter will kill us if her lgi gets sick.
Make sure to water the flowers.
Don't get worried if l call you late...
or if l don't call at all.
The city is real busy today,
and the lines will probabIy get disconnected.
We'll come home late tonight. l'll call you if l can.
l love you. Bye.
Here. Eat and let's make up.
Stubborn boy.
Have some cheese.
Up here... There...
Hello?
Hello Ms. Gheyrat.
Hello sir. How are you?
This is Panahi. Very well. How are you doing?
Fine, thank you.
Any news, Ms. Gheyrat?
Nothing new. The appeals court hasn't decided yet.
So where do l stand right now?
l mean is it going to be clear by the New Year?
lt all depends. If there is some influence,
then they may issue a verdict immediateIy.
But recent verdicts have all taken long.
Do you think...
the appeals judge...
will confirm the verdict or not?
l need to know.
l believe that the complementary punishment...
What's that?
l mean the 30-year ban.
Yes, 20-year ban.
Oh yes. The 20-year.
l believe the 20-year will be taken back...
and the 6-year imprisonment will perhaps be reduced somewhat.
This is my guess.
That means l'll definitely go to prison.
Yes, the prison is certain. They're not going to acquit you.
unless there is some very strong order, a strong decision,
or some pressure.
They never completeIy over-rule the punishment.
What do you mean by ''pressure''?
Are you talking about international reactions?
Yes, and the internal pressure, too.
The internal demand can make a major influence.
Rakhshan (Banietemad) talked to me, too.
l see.
l told her all this.
l don't know what effort recommendation, attention...
these things do make a difference, you know.
The domestic cinema community isn't in a position right now
to be of much help.
l mean if they make the slightest move,
they'll be banned from working as well.
l really don't expect any reaction from...
l fulIy understand.
l recentIy managed to reduce a 4 months old case...
in the same court, from 2-year sentence to a 1-year sentence.
So you see?
Yes, but...
But l haven't seen a case in which the appeals judge
will completeIy over-rule the sentence.
They either confirm or reduce it a bit.
So l...
But your verdict... my guess is that the judge
will definiteIy take the 20-year ban away,
and might give a discount on the 6-year term.
So from what you're saying, l should pack my sack
and put it by the front door.
l hope it won't be that way. What can l say?
l'm realIy ashamed on my own behalf.
Since we don't know what's going to happen either.
Since the rulings aren't legal rulings at all, unfortunateIy.
That's why our legal arguments were not heard.
l should say this plain and simple that the rulings are...
one hundred percent political and not legal at all,
not judicial at all.
100% political.
lt all depends on the current social conditions
and the pressures and reactions.
Thank you very much.
l'm really ashamed for bothering you so much.
Oh, no. Please don't say that.
Goodbye.
l think l should remove this cast and throw it away.
Do you remember the film ''Mirror''?
''Mirror'' was my second film.
lt was about a little girl whose mother hasn't shown up...
to pick her up from school, and she tries to go home on her own,
and to find the way. She gets on the bus, and as the bus goes,
she realises that she's going the wrong way.
Eventually the girl can't take it any more.
She takes out the cast and throws it away.
She says that she wants to be herself.
''What you've done is a lie.
l do know my way home.
l don't understand what you want from me.''
Don't look at the camera, Mina.
- l'm not acting anymore! - Cut.
Mina...
l want to get off!
What's the matter?
l'm not acting anymore!
Has somebody bothered you?
Open the door! Let me off!
- What should l do? - Stop the bus.
Open up!
Mina, won't you say?
No, l won't.
Let her get off.
l'm not sure about the outcome, but...
Bring the camera closer.
- You want to shoot this? - Yes.
- Shall we block off the sidewalk? - No. Never mind that.
She might touch the microphone.
Do we have her voice?
Yes.
Ready to shoot?
Let's go then.
Check the sound.
Recording.
So l was saying.
l think right now l'm in exactly a similar position as Mina.
Somehow l must remove my cast and throw it away.
This morning after we talked on the phone,
l sat down and reviewed the shots l had filmed earlier.
l realised it seems like pretending in a sense.
lt is turning out to be a lie and that it is somehow not me.
l remembered you were going to make a film...
about such problems.
What was it exactly?
Behind the scenes of Iranian filmmakers not making films.
l see.
That's why l asked you to come over.
Perhaps we could achieve something
inside this house.
l'll tell you now.
Just a moment, let me get this.
By the way, l don't know much about technical problems.
Now do we need additional light for the ambience?
Right now the problem is over-saturation.
The problem is over-exposure.
But there is too much light coming through the windows.
So l don't need to fetch additional light?
Good. Let's go into the kitchen.
What are you going to do?
Let's drink our tea and think about what to do.
The reason l took this screenplay is that...
Wait a moment.
Let me change my view.
l don't know if you remember this screenplay or not.
This is the last film that l was going to make.
l sent it for approval, which unfortunately they didn't approve.
They told me to make some changes to the screenplay...
and to mellow it down a little and it might get permission,
but still it didn't get the approval, and l wasn't allowed to work.
Now l thought perhaps l could read out the screenplay.
Now that l'm not allowed to make the film
perhaps by reading and explaining,
l might create an image of it.
Perhaps the viewer will see
the film that wasn't made.
The film is about a girl who has been admitted
to university in the field of arts.
But since she comes from a traditional family,
her family does not let her...
... to study in that field.
Particularly after she passes...
the university entrance exam,
and her name is printed in newspapers.
Her father finds out and the family makes restrictions for her.
- Do you want me to warm up your tea? - No, thanks.
Then the parents leave on a trip and lock the girl inside the house.
From now on, with all doors locked
the girl tries to find
some way out of the house.
lf she cannot get to Tehran in time for registration,
she will be denied the chance to go to university.
The film was supposed to take place
within the interior of the house and l tried to do it
but l couldn't.
That's why l asked you to come over and help me
in this location to be able to tell the screenplay.
With the camera following me
rather than being placed on tripod,
l can tell the screenplay more easily.
So you are about to tell
your last screenplay that wasn't made?
Yes, but not in here.
lf l sit here and read
it will bore everyone.
But if we go to that area over there,
we can construct the conditions
to explain more easily.
Good. So let's go over to the other side.
Very well. Cut.
Cut?
Go on. Cut.
You are not directing. It's an offence.
You just read the screenplay.
So l'm not a director any more.
Ok. If you are going to describe, then leave the rest to me.
Just tell us your screenplay and l'll follow you.
l hope it works.
By the way, acting and reading screenplay by me
are not going to be counted as offence, are they?
l hope not.
No, they aren't.
So far it says... 20 years ban from film-making,
20 years ban from writing screenplays,
20 years ban from leaving the country,
20 years ban from having interviews.
Acting and reading screenplays were not mentioned.
Thanks God.
l think this space here
should be enough for our story.
This location does not match
our main character, Maryam...
since she's from a lower class.
We can only recreate the location here
so we can get a feel of her situation...
Just a moment.
Let's imagine this rug is the girl's home.
We suppose the girl's entire, house to be this area here
and l'll start from here...
and these lines that l draw...
are the walls of the girl's room.
This is her room.
Let's say this is her bed and she's lying here.
There's a window here.
The opening shot will be of this window.
This shot will last about 6
and we'll only be seeing the alley.
Then the entrance to the room will be here.
Here's the entrance to the girl's room.
And here's the entrance to the house.
They enter through here.
The living room is here.
A few stairs and we enter...
the girl's room.
Take these to be the stairs.
Here's the alley.
Here's the house next-door.
The boy always stands here.
l'll tell of some events
that take place inside this house.
This is the location l found on my trip to Isfahan.
The window had to be altered to match my idea.
Here's the girl's room and it's in a mess right now,
and we had to change the arrangements.
These are the stairs
that lead to the girl's room.
Here's the living room that l talked about.
Here's the entrance to the house that we're going to need.
ln my last five films,
events have always taken, place out on the streets
and, due to limitations that exist concerning the veil for actresses,
l have never shot inside homes.
Then l submitted a screenplay titled ''Return'' to the Ministry,
but they didn't grant permission for making.
l pursued that for a couple of years.
''Return'' was about the last day of the (lran-lraq) war,
based on a short story by a writer who had himself spent
the whole duration of the war in the war zone.
lran has finally accepted the resolution to end the war.
And the soldiers are returning to their hometowns.
Now there aren't enough vehicles for them to return.
Eventually, some of the soldiers
lie on railroad tracks
and force a train to stop, so they can get on.
lt is only after they get on the train that we begin to see
the problems of war.
Well, after they didn't grant permission to make,
l started thinking what to do. l sketched out other subjects,
and they all took place in single locations.
Then l decided to use the interior as location.
My next screenplay titled ''Sea'' took place
inside a holiday home by the sea.
There were only 3 or 4 characters,
so that it could be made inside the home...
in case they didn't grant permission to make.
Unfortunately, that didn't work either.
My next film was being made together with Mr. Rasoulof...
inside this house and we had shot 30% of the film...
when all of a sudden they stormed in and took us away...
with all the footage, and the problems started.
Let's put that aside.
Opening shot. Here's our frame...
showing the alley.
There's a boy standing at the far end.
An old woman turns into the alley and walks up to the middle of the alley.
The boy comes to help her with a heavy load she's carrying.
They pass underneath our frame
as we continue to see the alley through a fixed shot.
We hear the door bell ring, and after a moment the boy returns.
The old woman enters the house
comes up the stairs,
opens this door and enters the room.
She sees that the girl is sleeping.
We can tell all this from the sounds.
''Hi Granny. Did you get me the mobile SIM card?''
Not in this tone, of course.
We should be able to tell she's just woken up
and she's a little sleepy.
''Your father told me not to buy you one. Did you tell him?''
''What do you think? l shouldn't have?''
''Oh, granny!''
We hear the old woman... ''Get up, get up.''
The old woman whines about her physical weakness,
and says that she's unable to visit her every day.
And we learn that she's alone at home
no one other than the old woman visits her
and that she is in fact
the girl's paternal grandmother.
The old woman gives the girl her last words and talks of the boy
and says that he is a nice boy.
She says that
she thinks the boy might in fact be the next-door girl's suitor.
Once again the old woman gives the girl her last word,
and says that she won't visit the girl for a week.
We hear her footsteps
as she goes back the way she had come in.
We hear the door open to the alley and...
and through this same frame...
we see the old woman.
As we hear the door we also see the boy
leave his standing position at the top of the alley.
The old woman who has entered the frame...
walks to the end of the alley and turns right.
After a moment the boy takes up his position again.
and stares at this window.
This was the opening shot.
Second shot take this place to be the bathroom,
and the camera is behind the bathroom door.
We hear the usual sounds from inside the bathroom.
Then the door opens and for the first time
we see the girl who has a shaven head.
She goes to the bed, and sits on the edge of the bed.
And the bed is here as we said before.
Then she lies on the bed for a moment
and touches her face.
The phone rings.
She goes toward the phone, which is located here.
Suppose this is the phone on the table.
She answers the phone,
but no one talks.
She slams the receiver to the floor.
She throws herself on the bed...
and as her face is buried in the mattress, she cries.
After a while
she turns and stares at the ceiling for a few moments.
There is a strong rope hanging from the ceiling.
The camera tilts down
There is a chair right here.
The girl is sitting on the chair and...
stares intently,
as if deciding to do the last thing...
that she must do before committing suicide.
ln the previous shot, when no one answered the phone,
she had slammed the phone to the ground
and it was shattered with its pieces all over the floor.
Now she is looking at the phone in pieces.
Next shot. Cut.
The handset that she slammed is in pieces here.
This shot is in fact the P.O.V. of the girl.
She starts putting together the pieces when...
the phone suddenly rings.
She mechanically puts the handset to her ear.
''Hello?''
She hears the ringing again.
She goes toward the base...
and pushes...
What is it? Why don't you continue?
ln a moment...
We hear the end-of-call tone.
Maryam thinks for a moment.
Although she is upset...
If we could tell a film then why make a film?
- Hello, sir. - Hello.
- Here you are. - Thank you.
How much is that?
Be our guest.
What's going on outside?
Nothing yet. It has just started. It'll soon get intense.
Why do you ask?
Just asking.
Here you are.
ls that right?
Yes. Thanks.
Keep the change.
Thank you.
Bye.
Food is here.
l'm looking for the sequence
in which Hossein goes to the jeweller's
and the jeweller humiliates him.
He acted in such a way that was beyond my control...
Just a moment...
This... Not here.
Here... Just look at this.
When you are telling, you must tell a bunch of details.
But with an amateur actor like Hossein
the details won't be predictable in advance at all.
You write some things,
but when you go on location,
and the amateur enters
he does the directing on you.
He leads you to how you explain the film.
What l mean is that the film must first be made
for us to be able to explain it later.
How could l explain before making the film...
Hossein should lean against the wall, do the thing
that he did with his eyes, and that l had never seen before?
l mean when l told him to act he did all that by himself.
l don't know.
Maybe l'm...
marking time somehow.
l feel what we are doing here is also a lie.
like the first sequence that we saw.
The rest will certainly turn out to be lies...
no matter how it proceeds.
Let's take the film ''Circle'' for example...
Where was it?
But you can't make a film now anyhow, can you?
So what l can't make film? That means l ask you...
to take a film of me?
Do you think it will turn into some major work of art?
- That's what you said, right? - What did l say?
You asked me to come here. You said you had tried a couple of shots,
they hadn't worked out, they seemed phony...
Jafar, You are now waiting for the confirmation of the verdict...
for the film that you were making before.
You have a 20-year ban on all activities in addition to a 6-year prison term.
So...
Well this is an activity related to cinema, anyhow.
What you're doing now, and later l'll be doing.
- What is? - This film being made.
- You call this a film? - It beats me. You should say.
OK, come and look. You see this sequence?
ln that film if the actress was directing...
Shoot the screen...
OK. Look.
Here location is doing the directing.
This actress didn't need to make any certain face to show her anxiety.
Those vertical lines in the location...
Those lines...
supplement her mental state.
lt all works out perfectly.
Now how can l really express myself inside that boundary
with the lines l drew?
How can l tell the sense and feeling in this kind of film?
Not possible
Let's go on now, maybe my feeling improves...
We'll see what we can do later.
What do you want?
Wherever you go, it's blocked.
Most websites are filtered. The rest don't saying anything.
Your nails are too sharp.
Go Igi... Go up.
Your nails are hurting me.
lt says here.. ''We're glad to have caused
the House of Cinema to be concerned about the revolution.''
The Cinema Deputy of the Ministry indicates
that they are happy that for the first time the concern
about execution of policies with revolutionary goals have become
the focal point of the current directors of the House of Cinema.
He says.. ''We directed the Berlin Film Festival''.
Hi Rakhshan.
Hi, how are you?
Fine. How are you?
How about you?
l'm fine. Not bad. Just so-so.
Anything new?
l was talking to my lawyer earlier.
Apparently she spoke with you.
Yes. l have spoken with her.
What did she say?
l wanted to make sure about the court district number and details.
l thought the least we could do was to recirculate
the original appeal made by the 12 prominent filmmakers,
and send it to the appeals court.
Do you have anything new?
No. l talked with Gheyrat. She wasn't too hopeful...
She said perhaps the reactions and protests...
by world artists could affect the decision.
The same voices that are heard particularly within the country.
l told her that l didn't wish to put the Iranian colleagues in trouble.
There are problems for all of us that everyone knows about.
But...
Well, problems there are plenty.
The thing is that everyone is getting scared off.
l mean l don't know...
You know the conditions well.
Turning every little instance
into a big deal for everyone...
has caused everyone to arrive at a certain numbness.
Just last night l was thinking of talking with you and saying
that the case is now in the appeals court,
and the same appeal by the filmmakers and this time more extended
and then to follow up in the Judiciary Branch directIy.
OK. Thank you.
Bye.
lt's OK. Let's go on.
l gave the Cut again!
What? l don't know what can be done really.
Let me try and tell another part of the screenplay.
l know it can't be compared with a film or a real work. But...
l'd like to tell another sequence. We'll see how it turns out.
The sequence in which the girl...
Oh, by the way, l never showed you the girl.
Yes... Here.
These 2 girls spoke with Isfahani accent.
We tested a number... 30 or 40 girls,
but these two were the closest to what l was after
Particularly if they shaved their heads.
This one with those hollow eyes,
it looked like she'd had a life
full of hardships and problems.
l felt that the role would suit her
and she had a very nice Isfahani accent, too.
Now...
Oh, by the way, let me say, that within the whole film
she developed a very intense relationship with the boy
who stands at the end of the alley,
and within the 4 - 5 days...
she feels that she's falling in love with the boy.
And it causes her to gradually lose interest in
going to Tehran, and there's a relationship forming.
Toward the end of the film we begin to learn that
as in the original story...
Since this story is based on a 1-page work,
by Chekhov titled ''A Girl's Notes''
that Kambozia (Partovi) and l worked together on...
we begin to learn that the boy didn't come there...
because he was in love
but that he had adverse intention, and...
he was in fact an agent.
Anyway, one sequence l like
is when her sister comes to the door...
Why do l keep crossing here? It's by habit.
The other time l left the phone behind the line.
The sister comes to the door and we later learn that...
she has left her husband in a sulk and has nowhere to go.
Door is locked and only the grandmother has the key.
The girl tries to talk with her sister through the window,
but she can't.
So she comes over here and goes down these stairs,
and arrives behind the entrance.
She has tried before to open the door, but couldn't
so she just sits there behind the door,
like this, and talks with her sister.
We never see the sister.
We have a closed frame.
We only hear the sister talk from behind the door.
The sister talks of her own problems,
and Maryam talks of her own problems, and it turns out...
that they both have serious problems.
The sister, who is behind the door
notices the boy's presence.
ln one of my favourite dialogues,
she says.. ''Listen, go with him.''
Since last year which was actualIy the first 'fireworks Wednesday'
since the protests following the presidential elections,
lran's leader for the first time
denounced fireworks Wednesday as unreligious,
and said there's no religious basis for fireworks Wednesday.
Therefore practicalIy since last year...
Hello.
- Is Aunt Tahereh home? - No, she's gone out.
How about Panah?
Panah has gone with Tahereh to give his grandma's New Year present.
- Do you know when they'll come home? - Late at night, l think.
Can l ask a favour?
Just don't ask me to keep this.
Please. There's no one to keep Micky.
l'm going out with Shahrzad for the Fireworks. l have promised her.
Why don't you take him to the 8th floor?
But Shahrzad has left her cat with them.
Just for an hour please. l promise l'll be back soon.
- But what am l supposed to do with it? - l'll be back soon.
- When will you be back? - In one hour.
Well, come on in.
l'll really be back soon.
Go Micky.
l'll come soon. Thanks a lot.
OK. Bye.
Come. Come here.
Shima...
Take this out, Shima. Igi is scared.
But he's safe.
Sorry, l can't. Take him to the 6th floor.
Hello?
Hi.
Hello, sir. How is it going?
Thanks. What's up?
Where are you?
Just sitting at home.
Where are Tahereh and Panah?
They've gone to give my mother her New Year present.
You should see outside. Shall l come and pick you up?
No. l can't come.
The guys have asked me to call as in ask you to come if you like.
No, thanks. l'm waiting for Tahereh and Panah.
l'll have to see what they're up to.
There's amazing traffic outside.
The crowd is in the middle of street and armed men are standing around.
Where?
There's a weird atmosphere outside.
l feel armed men are helping light up the fires!
Where are you?
l'm returning from office. But don't get worried.
Would you like me to pick up Tahereh, and bring her home?
No. l asked them to wait until the streets are quiet.
Excuse me... sorry. l'll call you.
Police stopped me.
What happened?
Hello?
Can you see the fireworks at all?
Hello?
Let me turn down the TV.
l called to say don't worry.
They were checking my camera.
Don't worry. l'm through the checkpoint now.
But who were they that stopped you?
They've got checkpoints. They stop cars.
They'll ask you to pull over and they'll start searching.
lt was just a random check.
They saw my camera on the seat. They asked me to pull over.
He asked me why l was carrying a camera.
l said it's for my work. l'm returning from my office.
He took a look at my camera and he let me go.
Listen. Be careful.
Sure.
Sir... If you are worried, l can go and pick up Tahereh and Panah.
lt's unbelievable traffic out here
and l see a lot of police on the streets.
You don't need to do anything.
You just look after yourself.
Don't cause any trouble.
Ok. l'm going directIy home.
Don't cause any problem. Just go.
Yes, sir. l was in the office and now l'm going home.
OK.
Thanks. Bye.
Bye.
What are you doing?
l got bored, l'm taking a film.
We aren't able to make our film so at least...
l want to see if l can do anything with the cell phone.
They say, ''when hairdressers have nothing to do,
they cut each other's hair.''
Fine. You shoot, too.
But what good can it do? The quality is too low.
Listen, Jafar. l believe what matters is that it is documented.
Since the day those things happened to you,
and after you left the prison...
if you had turned on your cell-phone's camera,
you would have recorded a lot of important moments.
We won't know if they can be turned into a film or not...
Even the things we've been doing so far today.
If you want to turn it into a film, l doubt it, but...
if you're documenting the days, then go ahead.
l don't know what we've been doing.
But l thought l might hear about my verdict any time...
and l've got tired of sitting home the past few months,
l thought l might as well do something.
That's quite natural.
Don't cut, Jafar.
- Why? - Keep it on.
And shoot what?
Take a shot of me in case l'm arrested...
there will be some images left.
Nothing can be seen from this side. Can't see outside.
Don't count much on what l have taken
since l'm not a photographer.
At least you know some things.
l really don't know anything technical.
Do you really want us to continue, or what?
l don't know.
Can't you stay longer tonight, so we see how it goes?
You want us to sit like this Iooking at each other all night?
and we can't do anything.
l think l should be going. l'm worried about my son, Yasna.
He was going to Fireworks Wednesday with a lot of ammunition.
lt's late already.
We can meet again tomorrow.
Now l'm going to leave the camera with you...
exactly the way l took it from you..
Do you think l will shoot anything?
No, but it matters that the cameras stay ON.
lt's important that the cameras are ON.
Let me make it stable.
How do you make it level? With a lighter?
A lighter as a tripod.
Pass your cigarette pack.
After l leave, you just sit down and talk to this camera.
Perhaps we can watch this footage later,
and edit them and see how it looks.
Right. l think the main thing is to document.
- So you're really leaving? - If you don't mind, yes.
Let me see you to the door, and record your leaving.
l have my cell phone, too.
Are you leaving? Give my best to your wife.
Sure.
Forgive me for all the troubles.
Tell her a couple of idle men were filming one another.
No, that's OK.
Oh, by the way, Rakhshan...
Once we were talking and we had nothing to do.
Rakhshan suggested starting a mobile kitchen.
We asked how do you mean ''kitchen''?
She said, we rent a van and write a sign on it..
''ldle Filmmakers' Mobile Kitchen''.
Then we agreed that each of us cook some dish.
She asked me what l could cook. l said l don't know how to cook at all.
Then l thought a little and l said my mother cooks very nice meatballs.
She suggested we write in the menu.. ''Jafar's mother's meatballs''!
- Hello, Mr. Panahi. - Hello.
Do l know you?
Hassan... Nasrin's brother...
Akbar's brother-in-law... the custodian.
- Well? - l'm here to pick up your trash.
Oh, to pick up the trash.
l'm leaving if you don't mind.
Just a moment. All right. Go pick it up.
lt's in the kitchen, under the sink.
No, don't take off your shoes.
Are you leaving?
Yeah. Call me and we'll arrange for tomorrow.
Sir, please let me remove the trash from the elevator.
- No problem. Let it stay. - But it's messy.
Don't worry.
Bye.
Give my regards to your Mrs.
Listen... What time shall we meet tomorrow?
Will you call?
Call me tomorrow when you wake up.
We'll arrange to meet and review...
- Where's the trash? - Over there, under the sink.
- This is it? - That's all.
- Anything on the balcony? - No, nothing.
So l'll wait for your call...
l'll be awake...
Your camera is ON, Mr. Panahi.
No problem.
Let me go first. You go later. That stinks.
Then let me take that out.
No need. There's a lead on it.
Bye.
Please press the button to return to floor 9.
Thanks a lot. Is this also trash, Mr. Panahi?
No, that's a music player for someone to pick up.
Are you shooting, Mr. Panahi?
Let me put on a decent shirt at least.
Are you filling in for the custodian?
Yes. My sister, Nasrin is going to have a baby...
- Oh, yes. They've gone to Isfahan. - Yes.
They like their child to be from Isfahan.
But what do you do here in Tehran? Are you a custodian somewhere else?
No, l'm only filling in for Akbar for a few days.
l mean what's your job?
ln fact, l do all kinds of things, but l study on the side, too.
- Study? - Yes.
Where at?
Art University.
Are you a university student?
- Yes. - Good.
Thanks a lot.
What field?
l study Arts Research.
Research...
Arts Research.
- So you're studying for master's? - Yes.
Good.
l don't look like it in these clothes. This is my work dress.
l'm here to pick up the trash, so l thought they might get dirty.
l guess he forgot...
His face looked familiar to me.
lsn't he the same guy who acted in ''Red-Hat''?
No way.
He looked quite similar...
l thought it was him, but without mustache.
He's a friend...
and a documentary filmmaker.
He's Mr. Mirtahmasb who makes documentary films.
He has a few good documentaries too.
We were just talking.
No, we were not working.
Oh, l thought he was here to audition.
l thought l jumped in your film all of a sudden...
By the way, there's a high quality camera over there,
and you're shooting with this?
What's wrong with this?
The professional camera is over there.
You mean you don't like this one?
l have one in my pocket, too. Here it is.
Do you think l can make a film with this?
You can certainly make a film with it, of course.
OK then. Just a moment...
Let me get the other one.
Shall l take the trash downstairs?
Wait. l'll come, too.
Wait...
Let me take the trash downstairs.
And what to do next?
Wow... My God! That's awesome.
Let's go. Take those as well. l'm coming with you.
Let me go in first.
- Let me take them out. They stink. - No, that's OK.
You're making an actor out of me. But one of those who will get embarrassed.
No, don't say that.
Excuse me.
Well, l had never seen you here before.
Why? l come here a lot.
l've come here at least 20 or 25 times so far.
At least.
Don't you have anything else to do?
Excuse me.
Yes, l do have other things to do. But this is part of what l do.
My sister needs...
Do you get paid for this?
No, this is just helping Akbar and Nasrin. You know...
How do you pay for your education?
l work.
What work?
All kinds of work.
For example...
l'll be right back and tell
The trash will stink if it stays inside the building.
Different jobs, like distributing fliers, working in a textile factory.
We're on 7th, going to 6th.
l work in a textile factory, as a courier on bike, on taxi,...
l was designing commercial ads for a while, too.
Any idea what it's like to work in a textile factory?
lt means you spend away your lungs, you waste your ears,
that's how noisy it is. l didn't last 6 months there.
Why don't you work in the same field as you are studying?
There's no trash on this floor... l do work in my field of study, too.
Well...
But it all depends, you know.
Sometimes there is work
and they need ads, and other times they don't need.
lt's not like a full-time job.
Nothing is sure about it.
l don't understand why there's no trash tonight.
We're on 5th, going to 4th.
lt feels like l went on a trip with you, Mr. Panahi...
a trip with a bad smell.
The night they stormed in here, l was here too.
- Really? - l swear to God.
You were here?
l come here often to take a bath that's why.
There's no bathroom in our dorm.
l come here to my sister's place to take a bath.
Then all of a sudden they knocked and...
l went to the door instead of Akbar...
Excuse me.
Knock on their door. Maybe they have trash inside.
But l know, Mr. Panahi...
They'll leave it outside if they have any.
Otherwise they won't leave anything outside.
This means they are all gone for Fireworks tonight.
Let me see...
Oh, no! The people on the second floor!
Why?
Now they're going to have 20 boxes of pizza.
l used to work for delivery service
and l used to deliver pizza for them every 10 minutes.
l don't understand how they eat all that pizza.
Wait a second.
These guys always have trash.
Hello.
l'll call you in a minute.
Bring over your trash.
Trash?
Are you staying home tonight?
l must stay home.
No, l mean you aren't going anywhere tonight?
No, l'll be here almost all night.
Could l ask you to keep Micky for a couple of hours?
Oh my God! Forget it for God's sake.
Last time you left him with us for a week.
Look at him!
He won't trouble you at all.
No, wait for Akbar to come back.
But there's no one here tonight. Akbar isn't here either.
Leave him with Mr. Panahi.
l did leave him with Mr. Panahi.
He didn't last more than 2 minutes.
Look. l must go now...
He won't bother you at all.
God knows if there was a way...
Either l'm going to die till morning, or Micky will!
l'll be back in 2 hours.
Bring your trash out please.
Then you'll keep him?
No, but bring him to the lobby.
- Really? - OK.
- So please wait for us. - Bring him in the lobby.
- Go bring your trash now. - OK.
Thanks a lot.
- Did you see the dog? - Why did you mention me?
He'll be nice subject for you.
She's asking me to go inside
and pick it up!
Please don't throw any cans in the bag.
- Last time they cut my hand. - Sure. l apologise.
Thanks a lot.
So l'll bring him in the lobby.
OK.
Some dog it is!
So, you were here when they came that night?
Yes, they knocked...
and l went to the door for Akbar...
Excuse me, Iet me pick this up.
l arrived at the door...
Wait a second...
l arrived there that night...
l think it was between 8 and 10 o'clock. l don't remember exactly.
l only remember l was just out of the bath and l was wet.
They were knocking, and l went to the door.
Excuse me, Mr. Panahi.
This story is a distraction.
OK. Never mind that now.
lt's not just one or 2 floors.
When l opened the door...
OK, When are you going to finish your studies?
l'm in second term.
You step outside, so you don't get dirty.
No, you go first. l'll follow you.
Excuse me.
What are you going to do when you finish school?
After l finish school l have lots of things to do.
You know what l'll do first thing?
First, l'll be looking to find a place to have peace.
l'll go in nature for a month.
l'll get away from the motorbikes, pollution, traffic, trash...
and Micky...
l'll get away from all that.
But do you know what's the worst of all?
The worst thing is that you graduate with a master's degree and...
then there's no job for you.
Mr. Panahi, please don't come outside. They'll see you with the camera.
THIS IS NOT A FILM
Jafar Panahi Moj'aba Mirtahmasb
Thanks to colleagues:
Many thanks to:
Dedicated to:
lranian filmmakers
Digital Cinema Mastering .. XDC