The premise isn't particularly striking; this bus driver, possibly named after his hometown, seems ordinary. He (Adam Driver) lives with his wife “Laura” (Golshifteh Farahani), and they have a happy marriage. Every morning he goes to the depot where he has his usual conversation with his pessimistic coworker “Donny” (Rizwan Manji) before beginning his route on bus number 23. She packs him a sandwich for lunch, which gets him through until he returns home in the evening for some conversation, television, maybe a movie, and then walking the dog—stopping at the pub for a quick drink along the way. Luckily for him, and for those watching, there are other things that affect his day, often leading to either frustration or amusement; whether it’s his friends arguing at the pub, passengers talking loudly nearby, or even when the bus breaks down. These events provide material for poetry in his lively imagination. It isn't traditional poetry—no rhyming verses or playful rhymes—but more like poetic narratives that Emily Dickinson or William Carlos Williams might have created from their own minds. He doesn’t intend to publish this work, and he is hesitant enough to share his writing—particularly the latest piece penned in a new notebook he keeps secret—even with his wife. Then an event arises that allows him to re-evaluate things. It's not a major life change or tragedy, just something that offers him a fresh perspective on a life that he frequently describes—usually to “Donny”—as being quite good. “Laura,” who is essentially his opposite, lives a much more dynamic existence where her days are rarely the same. She sees herself as reminiscent of Dolly Parton or Emmylou Harris; maybe she’ll become a global cupcake entrepreneur, but whatever she desires for herself, she wants it for him too. She serves as something of a muse to him and gives him an underlying sense of self-assurance that helps him handle things. Driver delivers a restrained and thoughtful performance here, which is captivating as you start to understand what motivates him (or doesn’t). Farahani and the young Sterling Jerins also do well portraying characters who contrast with his own, but who each have their own distinct role in this primarily observational drama. Sometimes it's subtle and intense, at other times it’s genuinely humorous, and as an exploration of how flexible our minds can be when confronted with unchanging routine, it succeeds.

Source on TMDB