It makes sense that if Kiarostami were to create a chamber piece, the “chamber” would be the front seat of a car. It is here, on the crowded streets of Tehran,
that a middle-class woman does her best thinking, engages loved ones on issues of family life, and strangers on religion and the oppression of women. And it
was here, we suspect, that she came to the decision to divorce and remarry. Her ten front-seat encounters recorded with a digital video camera on the dashboard
offer the radical intimacy and feminism of Chantal Akerman, the searing camera-as-emotional-X-ray of John Cassavetes.