Irreverent city engineer Behzad comes to a rural Kurdish village in Iran to keep vigil for a dying relative. In the meanwhile the film follows his efforts to fit in with the local community and how he changes his own attitudes as a result.
I would say Kiarostami is someone whose films I really admire, and particularly The Wind Will Carry Us. And there are moments in my films where characters are inside cars, driving around and having conversations. Maybe there's a stylistic similarity in those parts. I wasn’t thinking about Kiarostami while I was doing it, but I think that critics picking that up is probably very natural. Perhaps it’s like a kind of unconscious influence.