A writer, portrayed by Kambuzia Partovi, seeks refuge from his life and creative struggles by leasing a seaside property. He obscures the windows and intends to concentrate on his work, accompanied solely by his small dog—kept hidden due to restrictions. After hearing sounds outside, he discovers a young couple who claim they’ve entered the house; they are fleeing the police after being caught at an illegal beach barbecue. The man (Hadi Saeedi) promises to return for a vehicle shortly, and the writer reluctantly allows the woman “Melika” (Maryam Moghadam) to shower while she waits. It doesn't take long before it becomes apparent that she has no intention of leaving quickly or respecting his need for solitude and concentration; she proves quite irritating to him and to the viewer as well. Then, unexpectedly, Jafar Panahi appears. What is his role in this situation? Why can’t he see the girl? And why are the writer and Panahi never shown together on screen? Is it a supernatural narrative? Or something more psychologically unsettling? This film didn't particularly resonate with me. The initial thirty minutes were effective at creating a feeling of confinement and vulnerability, not only through the darkened windows but also because of the author’s fear of authorities discovering his dog. However, as the story progressed beyond this intense phase and evolved into a more conventional drama, I began to lose interest. It's evident that Panahi aims to highlight the limitations imposed by the government and its control over artistic expression, but this feels somewhat repetitive; there are too many prolonged, motionless camera angles of people moving around, and Panahi himself seems to wander about attempting to act as a vague link between reality and illusion. The limited amount of dialogue encourages viewers to draw their own conclusions from what they observe, yet it also requires an excessive degree of interpretation on our part.

Source on TMDB