It's easy to imagine what it must be like to work as a taxi driver in Tehran, and filmmaker Jafar Panahi seems to have done just that. He employed a clever tactic—appearing as a regular cabbie—so he could film passengers and capture slices of life within the city. We’ve all encountered drivers who are full of opinions, but here, the person behind the wheel mostly stays quiet, allowing his riders to speak for themselves. Some passengers are eager to talk, others seem irritable, two have a pressing need to take their goldfish to Ali’s Spring, and one is visibly bloodied before his niece, Hana Saeidi, joins them from school. She’s quite delightful—bright, inquisitive, and warm. While they're driving, she mentions her film teacher’s idea for everyone to create a short movie within a month, even presenting a list of guidelines that cover appropriate and inappropriate behavior. As he drives, he begins to wonder if he heard a familiar voice, and the overall feel of the film shifts subtly toward something more unsettling. When I refer to a disguise, it's because he’s still easily identified by many people in town, including Nasrin Sotoudeh, who bravely supports those harmed by the government; this highlights just how precarious his situation—and that of his associates—really is, with the authorities clearly monitoring them. The film effectively communicates its important message, but I also appreciated how his charming niece helped to offset the oppressive atmosphere simply through her youthful curiosity and playful nature. As a way of observing everyday life in Iran, it provides a window into reality, allowing viewers to form their own judgments.

Source on TMDB