The presence of stray dogs wandering around in the desert at night makes it unsurprising when a family driving home accidentally hits one with their car. The daughter is upset by the incident, but after her mother assures her that her father didn’t mean to do it, they manage to get closer to their destination before the vehicle breaks down. Fortunately, they are near a shop where someone kind enough offers to help with some temporary repairs. Upstairs, “Vahid” (Vahid Mobasseri) is preparing for a wedding the next day and begins to act suspiciously when he hears visitors arriving. He follows them home, watches their movements, then shadows “Eghbal” (Ebrahim Azizi) as the car is taken in for repair the following morning. The reason behind this remains unclear for a while, but things become even stranger when he hits the man over the head with a shovel and puts him in a van before driving into the desert. He digs a hole, places the man inside, and prepares to bury him alive. Questions arise about the identity of this man and what possible crime he could have committed. The captive’s pleas for mercy introduce some doubt in “Vahid's” mind that he might not be who he thinks he is. As these uncertainties grow, “Vahid” seeks confirmation from wedding photographer “Shiva” (Mariam Afshari), and it’s at this point that the audience begins to understand who they believe their prisoner is and what actions they think he has taken. Initially, she wants nothing to do with his plan, but the couple about to get married are also connected, as is her former boyfriend “Hamid” (Mohamad Ali Elyasmehr), and soon a discussion about whether two wrongs can make a right emerges among a group united in their dislike of “Peg Leg”. Adding another layer to their predicament, the captive’s phone keeps ringing, and when they discover his young daughter is worried about her pregnant mother who has fallen ill at home, the would-be assassins face a moral problem of their own. As the story progresses, there are moments of humor—dark, not laugh-out-loud funny, but helpful in understanding a very human tale of revenge with touches of compassion. These characters aren’t inherently brutal; Mobasseri's portrayal of a man consumed by anger is effectively balanced by his caution, his desire to avoid mistakes, and then, alongside his colleagues, their sense of what is right. The film takes place against the backdrop of a busy city where people are subconsciously looking over their shoulders, afraid of being arrested by authorities who might torture them before asking questions, but this isn’t overly emphasized; it's more implied as the story unfolds. The acting, performed mostly by non-professional actors, is engaging and full of personality with plenty of conversation to keep things entertaining—even though the subject matter is disturbing. I must admit that the film’s ending, like much of it, relies heavily on sound design, and it's one of the creepiest conclusions I can remember.

Source on TMDB