All language subtitles for Nema-ye Nazdik (Abbas Kiarostami, 1990).ENG

- Did you say it might take a while?
- lt's OK.

- We could phone them.
- No, it's OK.

lt could take till tonight,
depending on how things go.

- lt's a strange story.
- Really?

Well, it seems that

someone has been passing himself off

as Mohsen Makhmalbaf, do you know him?

- A businessman?
- No, not at all.

Do l turn left here?

He's not a businessman, he's a filmmaker.

- Do you know him?
- No.

The Cyclist is his latest film.

l've no time for the cinema!

He's a filmmaker,
but his face isn't very well-known.

And this guy told a family
he was Makhmalbaf.

lt's not clear what his intentions were.

He chose a few members
of this family to be actors

and told them their house was ideal

as the location for his next film.

But no one knows
what his intentions really are.

l'm a journalist and l'm going there

to cover his arrest.

- You're a journalist?
- For Sorush Magazine.

l thought you were a policeman!

That's funny!

l was told about this case

and l thought it would make a good story.

l'm going to follow
this case through to the end.

You don't hear of a story like this every day.

Godsends like this only come
a couple of times in your career.

lt's a hot news item.

Sensational news.
The kind of news that boosts sales.

lt's what l call an Oriana-style story.

By the way, do you know Fallaci?

No.

Bogdanovich? Edisson?

They're fellow journalists.

They're not my clients!

But they're fellow journalists.

They write sensational reports.

Oriana Fallaci writes
some very original articles.

She has a gift for finding stories
that no one else does.

She has a worldwide reputation.

And l'm sure this is
a new Oriana-style report.

l must find out if he had any illicit plans

such as stealing from them.

l'll know that once he's been arrested,

so l'll need you till tonight.

- Fine by me.
- Good.

Give your boss a call when we get there.

lt's OK, l don't work for them
full-time anyway.

l'm a retired fighter pilot.

l'm one of the ground staff now!

Funny, a pilot working on the ground!

That could be a good scoop, too!

- Left here?
- Yes.

- To Lavizan?
- Yes, then Hosseinabad Avenue.

Lavizan is a nice area.
l lived there before the Revolution.

l left when the unrest started

at the Lavizan garrison.

When the soldiers rioted...

l haven't been back since.

We're going to Javanshir Avenue.

Keep going, l'll ask someone the way.

Let's see if this boy can help.

- Excuse me. Where's Javanshir Avenue?
- l don't know.

- He doesn't know.
- Ask an adult.

Let's ask this man.

Excuse me. Where is Golzar Avenue?

l don't know.

- Want a turkey?
- No.

We're off to see a family
who were made turkeys of!

How did you hear of this story?

A composer friend called me
and said strange things were afoot

in his friend's house.

lt's a strange place to choose.

Where's Golzar Avenue?

Straight on, then left
just after the supermarket.

- Straight on, then left?
- Yes.

Thanks.

This is a once-in-a-lifetime story
for a journalist.

You can't imagine how impatient l am

to see this report on the front page.

lt'll cause a sensation.

Everyone in TV and cinema

will talk about it.

Let me see...

First Avenue off Golzar Avenue.

Here it is. First Avenue.

That way.

ls this it?

Yes, but it's a dead end.

lt's strange that this sensational news

should come from a dead end!

Just my luck!

12... 14... 16...

Here it is. What a strange place.

- Wait here.
- OK.

- Yes?
- Hello, it's Mr Farazmand.

He might see you from the window.

Stay in the car till l call you.

Tell the plaintiff to bring
his complaint and his lD papers.

- Complaint and papers.
- Right.

Don't the police have their own vehicle?

Yes, they do.

The journalist will have quite a bill to pay.

- Smoke?
- No, thanks.

- Where are you from?
- lspahan.

Funny... l'm from Tehran
and l did national service in lspahan.

And you do the opposite!

That's fate!

- Are you from lspahan too?
- No, Borujerd.

Actually l'm not from lspahan,
but a village near Naeem.

- Naeem's near Yazd, right?
- Yes, my village is Jandagh.

- How long do you have left?
- l've done one year.

l still have two years to do,
because l'm not married.

l'm off to the front soon.

- Where?
- Kurdistan.

- Near Baneh?
- Yes.

lt'll be over soon.
Then you can go home and get married!

As long as God grants you good health...

- And you?
- l'm married.

- Any children?
- Yes, one.

God bless him.

- Mr Abolfazl Ahankhah?
- Yes.

- ls he armed?
- l don't think so.

Hang on! l've forgotten my case.

Look, if you tell me the truth...

l can help you.

To you l'm just a crook.

Did he have one?

There's no one home.

But l really need a tape recorder.

Go to HQ. l'll see you there.

- What about the fare?
- How much is it?

350 tomans.

Mr Ahankhah, give me 200 tomans.

Sorry about this.

Here. l'll join you at HQ.

l have to find a tape recorder.

- We don't know them.
- l need one.

- Yes?
- lt was a mistake!

They're away.

- Yes?
- Excuse me, l'm Mr Farazmand.

l'm a journalist and friend
of your neighbour, Mr Ahankhah.

l need a portable tape recorder.

We don't have a recorder.

Thanks anyway.

- Yes?
- Excuse me, l'm Mr Farazmand.

l'm a journalist and friend
of your neighbour, Mr Ahankhah.

- l need a tape recorder.
- We don't have one.

- You don't have one?
- No.

l'm Mr Farazmand...

- Mr Farazmand!
- Yes?

Here's one.

You'll get it back.

CLOSE-UP

Screenplay: A Kiarostami
Based on a true story

Appearing as themselves
H Sabzian, H Farazmand

A Ahankhah, M Ahankhah
N M Zanoozi, A M Mohseni

and Mohsen Makhmalbaf

Photography
A R Zarindast

Producer
A R Zarin

Directed and edited by
Abbas Kiarostami

BOGUS MAKHMALBAF ARRESTED

- Who's in charge?
- Captain Bashiri.

- Can l see him?
- l'll call him.

Captain! Someone to see you.

- Hello, Captain.
- Hello.

l read in Sorush Magazine
that a certain Hossein Sabzian

was arrested by your men.

Yes, we have a copy of the magazine.

Do you want to see it?

Barati, bring me the magazine.

l already read the article,

but could you give me some more details?

l don't remember.
lt was two weeks ago.

As you can see, we're very busy here.

Could you give me...

the address of the house
where it happened?

l'll have to check the file. Go get it.

- Two weeks ago?
- Yes.

lt was published recently!

One week after it happened.

- Was he detained here?
- For a few days.

What kind of man is he?

He claimed to be quite religious.

Were you there when he was arrested?

Yes.

- Did he resist arrest?
- Not at all.

- What kind of man is he?
- He surrendered...

- Pardon me?
- He didn't struggle.

- What kind of man is he?
- Not the kind to do such things.

What do you mean?

He didn't look the kind who plans a fraud.

- Not the kind...
- Not at all.

l'd like Mr Ahankhah's address.

You seem to know a lot about it.
His house is...

l'll note it down.

Number 16, First Avenue
off Golzar Avenue in Lavizan.

Mr Kiarostami, the people
concerned by this case

wish to be presented in a favourable light.

Mr Farazmand claimed that the truth
would not have come out

if it hadn't been for him.

That's not true.

l knew exactly what was going on
and l always had the situation

perfectly under control.

l played along with him,
so it'd serve as a lesson to my children.

But you're giving me a different version

and l'm confused.

The report doesn't tell the whole story.

What do you mean by that?

The article portrays us as simple people.
That's not true.

What do you mean?

l like the movies, but that doesn't mean

l'd do what it says in the article.

l was glad my mother met Mr Makhmalbaf.

That's a fact.

l thought that meeting him

could've been useful to me, too.

l have a degree in civil engineering,

but l haven't yet found a job in my field.

And my brother,

who's a mechanical engineer, sells bread.

Mehrdad...

l had the choice
between art and selling bread.

l chose art.

Manuchehrdoesn't sell bread.

He's the directorofa bread factory.

But Mum, come on...

Could you speak Persian?

lt's true, my brother didn't do
all those studies to sell bread.

When did you graduate?

Six months ago.

l'm sure you'll soon find a good job.

Amir, Hossein and Hushang
graduated over a year ago

and only Amir got a job for six months.

The factories aren't hiring.
They lack raw materials.

l came to talk about Mr Sabzian.

Can you tell me anything about him?

- Where is he now?
- ln prison.

- Where?
- Ghasr.

- Hello. Mr Sabzian?
- Yes.

- Detained for?
- Attempted fraud.

You have a visitor.

- Are you well?
- Yes, thanks.

- Do you know me?
- Yes.

l read a report on you
and l decided to come see you.

- ln what magazine?
- Sorush.

Apparently you're interested in cinema.

As l'm a filmmaker, l wanted to talk to you.

- And you are...
- Kiarostami.

l'm surprised, Mr Kiarostami.

l've seen your films.

Can l do anything for you?

You could make a film about my suffering.

l can't promise anything,
but l'd like to talk to you.

What did they write about me?
That l'm a crook?

Apparently you confessed
to attempted fraud.

Yes, l did confess.

- But l'm not a crook.
- Really?

Why did you confess you were, then?

Because what l did
looks like fraud from the outside.

- But what is it really?
- l'm interested in cinema.

How long have you been in prison?

l'm not sure.

- About three weeks.
- When's the trial?

l don't know.

The courts don't like this kind of case.

l'll try to bring your trial forward.

l'd be grateful.

l have no more questions, Captain.

l have a message for Mr Makhmalbaf.

What is it?

Tell him The Cyclist is a part of me.

l'll tell him.

lf you'll excuse me...

Goodbye.

Goodbye. Tell me if you need anything.

- Which block are you in?
- Block 5.

- Nothing you need?
- No.

We came on Tuesday
concerning the Sabzian case.

l don't remember.

The man who pretended
to be Mr Makhmalbaf.

l have stacks of files.

l can't remember everyone's name...

Could you be more precise?

l came on Tuesday.
You said you'd speak to Haj Agha

and tell us his answer.

We'd like to film the trial.

That's right, l remember now.

l passed it on to Haj Agha.

Excuse me, did you study the Sabzian file?

- The one you want to film?
- Yes.

Yes.

We need your authorisation
to shoot our film.

We'd like the date of the trial
to be brought forward.

lt was set for January 19,
but we'd like it brought forward.

Yes, it was January 19.

Why do you want it brought forward?

What's the rush?

For our shooting schedule.

We also need a permit...

to film in the courtroom.

There's nothing about this case
that's worth filming.

- Did you study the file?
- Yes.

This case interests us,
because it has a connection...

with the cinema.

Do you have more interesting cases?

We have cases
where the charges are more serious.

This is a small fraud case

concerning the fact that he received
1 ,900 tomans from Mr Ahankhah

apparently to take a taxi.

He also passed himself off
as Mr Makhmalbaf.

Will you allow us
to film in the courtroom?

Only if the authorities allow it.

- That is?
- The Department of Justice.

lf they OK it, l will.

- We have your agreement?
- You do.

Scene 1 , Shot 1 ,
Law Courts, December 10.

Mr Sabzian, do you remember me?
We've met before.

Yes, Ghasr Prison.

We'd like to film the trial.

Do you agree to us doing that?

Yes.

Because you're my audience.

- Who is?
- You are.

Why's that?

- Because of my passion.
- Which passion?

Art.

Film.

We have two cameras,
one with a close-up lens.

- Know what a close-up is?
- Yes.

- The other camera...
- No, l don't know.

lt's used to zoom in on things.

The other lens, a wide-angle,
films the proceedings.

This one stays on you all the time.

When l met you in prison,

you told me you would plead guilty.

But certain things
are more complex than they seem.

This camera is here
so you can explain things

which people might
find it hard to understand.

They will begin by reading the charges.

lf anything seems unacceptable to you

from a legal point of view

and you wish to explain,
address this camera.

OK.

- Are you ready?
- Yes.

ln the name of God...

The accused, Mr Hossein Sabzian.

Who are the plaintiffs?

Mr Ahankhah, Mrs Mohseni
and Mehrdad Ahankhah.

- Three plaintiffs in all?
- Yes.

Before we proceed,
l invite the two parties

to settle their differences amicably.

lf the plaintiffs do not wish

to withdraw their complaint,

we shall begin the trial.

As the head of the family,
l am not in a position

to withdraw my complaint.

l've asked my son Mehrdad
to talk on our behalf.

Very well. Let us begin.

Mr Ahankhah, could you give us
your side of the story?

Mr Hossein Sabzian
approached our family...

passing himself off as Mr Makhmalbaf...

and was clearly intending...

at best...

to commit fraud...

and at worst, a burglary.

He was thwarted...

thanks to my father's vigilance...

and was arrested.

THE CYCLlST

Excuse me, where did you get that book?

Where did you buy that book?

ln a bookshop.

Could you give me the address?

You can have it.

No, thank you. l want to buy it.

lt's yours.

l wrote it.

- You wrote it?
- Yes.

Are you Mr Makhmalbaf?

- Yes.
- Pleased to meet you.

That's very kind of you.

l'll sign it for you.

- Thank you.
- You're welcome.

How come you use public transport
to get around?

Why does that surprise you?

Famous directors
usually use their own cars.

They don't take the bus.

l often take the bus

to look for interesting subjects.

Did you see my film?

Yes, with my children. l liked it a lot.

- Just once?
- Yes.

You have to see it several times
to fully understand it.

My children were more interested.

Really?

Yes, my two sons.

- They're engineers.
- Which was more interested?

The younger one was more enthusiastic.

- He saw it, too?
- Yes, we saw it together.

- What did he think about it?
- He liked it.

- Did he have any questions?
- No.

What does he do?

Both my sons are engineers.
The elder one's a mechanical engineer.

He works
in a bread factory in Mazandaran.

The younger one

doesn't have a job yet.

He helps out at a computing firm.
He studied civil engineering.

My daughter here just took
her university entrance exams.

Oh, she's your daughter, is she?

She has finished her schooling.

What are your son's interests?

He's interested in art and literature.

Has he written any screenplays?

Just for himself.

- He's interested in cinema?
- Yes, he is.

- And drawing?
- Yes, that's his speciality.

So he's interested in art?

Very much so.

My sons will be thrilled to hear

l met you.

lf they wish, they can contact me.

What's your address?

lt's on the back,
along with the phone number.

Thank you. l'll tell them.

Could l have your number?
Then, l could call them.

Here's some paper.

l have a pen, too.

- Here's your pen.
- Thanks.

What's your name?

Ahankhah.

Stop, l want to get off.

- You want to get off?
- Yes. Excuse me.

- l hope l'll see you again.
- Thank you.

What do you mean by ''fraud''?

What exactly did he do?

Well, he passed himself off

as Mr Makhmalbaf, the filmmaker.

He examined all the rooms of the house,

pretending he wanted to film there,

so as to gather information
to carry out a burglary.

Mr Hossein Sabzian,
you are accused of fraud

and attempted fraud.

You are to defend yourself
on these two counts.

Do you acknowledge the charges
you are accused of?

lf you do, explain how you intended
to carry them out.

The burglary...

You're not on trial for that.

You are accused
of fraud and attempted fraud.

l never intended to defraud anyone.

Legally, it might be
an acceptable charge.

But morally, it is not.

This all arose
from my love of the arts.

As a child, l often went to the cinema.

l played at making films with my friends.

But as l didn't have the means,

l had to abandon my artistic pretensions.

lt became an obsession.

A crook, however,
deliberately changes his appearance.

He comes along in a borrowed car,
carrying a briefcase...

so he looks convincing.

l never did that.

That was not my intention.

What was your motive for passing
yourself off as Mr Makhmalbaf?

Tell the court.

l admire him, because he...

portrays suffering in his films.

ln fact, he spoke out for people like me,

especially in Marriage ofthe Blessed.

Just like Mr Kiarostami
did in The Traveller.

l'm like the little boy in the film
who takes photos of people

although his camera isn't loaded,

so he can go to Tehran
to see a soccer match.

But he falls asleep and misses the match.

l too have the feeling l missed the match.

l know that my actions
can't be justified legally,

but my love of art
should be taken into account.

You haven't answered the question.

Why did you pass yourself off
as Mr Makhmalbaf

if you didn't intend to commit fraud?

Wouldn't you call that fraud?

l liked interpreting this character.

One of the plaintiffs
claims that the accused

received 1 ,900 tomans from him.

Tell us about that.

On leaving the house after his first visit,

he saw a motorbike.

He asked me if it belonged to me.

He asked me to give him a lift home.

So l agreed. As we left...

he said that if anything happened to him...

his admirers and his film crew...

would avenge him by coming to our house

and ransacking it.

We laughed at that.

As we rode along...

he answered me
as if he were Makhmalbaf.

He talked about his filmmaking.

l asked him a few questions.

He answered my questions

sometimes very intelligently,

sometimes very evasively.

l just thought that he didn't want

to expand on every aspect
of his filmmaking.

Then he said he'd had
an interesting idea for a film.

He said, ''Two people are on a motorbike...

''and one loses his wallet.''

l asked if that had happened to him

and he said yes.

As he got off, he said
he needed some money.

l thought that, to get home,

he'd need 50 or 100 tomans.

But he said that he needed to buy
something costing 1 ,500 tomans.

When l gave him the money,

he said he needed another 500,
that 2,000 would be perfect.

l kept 50 back...

because l needed some myself.

And l gave him the rest.

He put it in his pocket.

Then he said that the screenplay

that he had conceived finished like that...

One of the two men,
the one with some money,

lent some to the one
who had lost his money.

And it was the start of a great friendship.

l was delighted to have met a director

who was humble enough
to borrow money off me.

- Did you receive 1 ,900 tomans?
- Yes.

Did you need the money or was it...

just to test his generosity?

l did need the money.

Does that justify your actions?

No.

With the court's permission,
tell us the reason for your behaviour

and why you chose
to pass yourself off as Makhmalbaf.

Being Makhmalbaf was very difficult.

Why's that?
You yourself decided to be him.

lt was hard for me...

to assume his identity.

lt wasn't easy to be believable doing that.

- What?
- Being Makhmalbaf.

lt was hard to play the part of a director.

But it gave me self-confidence.

And l won their respect.

- Whose respect?
- The members of the family.

They did everything l told them.

lf l'd asked them, say, to move a cupboard,

or to cut down a tree,
they would have done it.

Before that, l'd never been able
to get my views across.

People were reluctant to do what l said.

But then, by acting like this famous person,

l made them all obey me.

When l left the house
and l had to accept the money

to buy something for my son

and pay for my trip home, l realised...

that l was still a poor guy
who couldn't even support his family

and who lived in a godforsaken place.

When l woke up the next day

and still had no job,

l understood nothing had changed.

lt was hard to go on playing this part.

lt was very hard
to pretend to be someone else.

But at the same time, l liked it...

above all, because they respected me

and supported me morally.
So l really got into the part.

l started to believe l actually was a director.

l really felt it.

l wasn't acting any more.

l really became this new character.

But when l left that place

and went home at the end of the day,

l had to shed my character
and that was hard for me.

Did the money make it easier

for you to go on playing this role?

Yes, a director cannot be poor.

He must have money.

He cannot be so poor

that he is unable

to give his family

the means to get by with dignity.

That's why it was so hard for me

to go on with my role as director
the next few days.

On the other hand, they trusted me

and their trust gave me confidence.

lt gave you confidence
that he lent you money?

Yes, when he lent me money,

l realised

that he was convinced
that l was a director.

You didn't intend to give it back?

l did, but...

l didn't know how l could go about doing it.

On top of that...

he was so keen on acting in a film

that l would've loved
to have the means to make one.

We began to have doubts
the following Thursday.

He insisted we all go
see the film The Cyclist.

He said we could discuss the film,
that it'd serve

as a point of departure

for our film, The House ofthe Spider.

The Cyclist was on at two cinemas.
One was near our house.

But he wanted us to go

to the one that was
a long way from our home.

He claimed that it was showing

a less censored version of the film,

so we had to see it in this cinema.

That's one of the things
that started us thinking.

When we pointed out
that we didn't have a car,

he said that it didn't matter.

He even asked a friend of ours

to take his father's car.

He said that he wouldn't come with us.

Otherwise his admirers
would bother us outside the cinema.

Mr Sabzian, did you hear that?

Spite is a veil to conceal art.

What?

Spite is a veil to conceal art.

l should like to ask Mr Ahankhah...

who accuses me
of intent to burgle his house...

You are not accused of that.

He merely mentioned it in passing.
lt's not on record.

So disregard that.

They claimed that you

were part of a gang

who were planning a burglary.

l categorically deny that.

They thought you wanted
to force them out of their house

so your accomplices
could go in and steal their possessions.

- Was that your intention?
- No.

But you admit you wanted
to misappropriate Makhmalbaf's name.

Yes.

As he has explained, and you confirmed,

he had no intent to steal anything.

But it isn't clear why he wanted

the whole family to go to the cinema.

lf you don't mind, l'd like him to explain

his motives for doing this.

l wanted them to see the film

so that they would acquire

a greater interest in the cinema

and have more respect for me as a director.

l wanted them to see me

as a director who is aware

of people's sufferings and difficulties.

A director who is modest enough

to mingle with ordinary folk.

l wanted to make them forget
the idea that a film director

is different from other people.

A director should have humility.

l wanted them to realise

that a true artist

is someone who is close to the people

and is prepared to go
to the cinema with them.

But as they didn't accept my proposition,

l suggest they go on their own.

l went there by bus

and when l arrived in front of the cinema,

l saw that they were already there.

They hadn't seen me...

l went up to them and l said...

that l'd been waiting
for them a long time.

They asked me how l'd come.

l told them l'd been careful
not to be recognised

because people
would have crowded round me

to ask for autographs.

What would you have done if someone
had taken you for Makhmalbaf?

lf it had been outside the cinema,

l'd have tried not to attract attention,
but l sensed...

Would you have followed him

and been his Makhmalbaf as well?

l think l would have.

How long after his visit
to your house was he arrested?

When he left us on the Tuesday,

he said he liked me

and that he wanted to give me the lead role

in his next film.

He added that he'd be back to see us.

He said he'd come to lunch that Thursday.

And that soup was his favourite dish.

How long after you met was he arrested?

And on what grounds?

He came to our house
three times in four days.

On the Tuesday, Thursday and Saturday.

Describe the circumstances
that led to his arrest.

Actually, my father
suspected him from the start.

He talked it over with Mr Mohseni.

The description he gave

corresponded to Mr Sabzian.

Mr Mohseni, you've been following
all this from the outset.

Everything has happened

as l anticipated it would.

But Mehrdad said

there was no reason to suspect him.

Fortunately, something happened yesterday

which convinced him
that he wasn't Makhmalbaf.

Yesterday, the so-called Makhmalbaf

came to rehearse with the children.

Mehrdad arrived with a newspaper.

And he said,
''Congratulations, Mr Makhmalbaf!''

He was confused
and didn't know what to say.

The newspaper said that a prize

had been given to The Cyclist

at the Rimini Festival.

But he didn't seem
to know anything about it.

He got out of it

by saying that this prize
was for the music of the film.

- He was thinking of Fajr Festival.
- Probably.

They continued their rehearsals.

But Mehrdad was convinced
that it wasn't Makhmalbaf.

But sometimes

the director doesn't hear
of these things right away.

No, the newspaper said Mr Makhmalbaf

had sent a wire to the festival.

So he had to know about the award.

They continued the rehearsals,
then went to the cinema.

As we left the cinema,
he expressed the wish

to come home with us
and spend the night at our house.

He came home and spent the night here.

The next day, at around six am,

l heard him talking with Mehrdad.

He said he wanted to go...

mountain climbing.

Mehrdad was sure he wouldn't come back.

But he lent him his coat
so he wouldn't catch cold.

We thought we'd never see him again,
but luckily...

or unluckily...
he phoned 30 minutes ago.

He asked Mehrdad to go to town
to pick him up.

So off he went
and they'll be here any moment now.

Like l told you,

my friend knows artistic circles very well.

l hope this man really is Makhmalbaf.

Excuse me. l can hear a motorbike coming.

- Hello. How are you?
- Fine, thanks.

- My friend, Mr Mohseni.
- Pleased to meet you.

Do sit down.

- How are you?
- Fine, thank you.

l hope you had a good night's sleep.

l didn't.

- No?
- l didn't sleep at all.

l'm sorry you didn't find
our house comfortable.

One often sleeps badly
in someone else's place.

And yet a sage feels at home anywhere.

l'm no sage.

You look like one though.

Appearances can be deceptive.

Mr Makhmalbaf, have you eaten?

l had a big breakfast.

But l'll gladly join you.

At the weekend, our children get up late

and just have lunch.

But l can make you an omelette.

No, l'm not really hungry.

Whether you're a sage or not,
all we can offer you is an omelette.

That's fine.

Make him an omelette.

Do you often go
up in the mountains, Mr Makhmalbaf?

Sometimes.

But this morning,
when l looked at the mountains,

l felt the urge to get closer to nature.

Being close to nature

lifts the burden of worries from your breast.

One must be in touch with nature...

''l asked the Muse why she was hiding.

''She replied, 'lt's you who are hiding.'''

We are the slaves of a mask
which hides our true face.

lf we manage to free ourselves of this,
the beauty of truth will be ours.

This morning l wanted
to go up in the mountains to study myself.

Nature is a mirror
in which we can study ourselves.

lf you like nature so much,
you should live a natural life.

Mehrdad, you don't look
as if you're ready for rehearsals.

l'm waiting for the others.

You're wasting my time.

Have your meal.

What do you see
as being unnatural about me?

That's not what l meant.

l just wanted to stress
the fact that most people rest on a Friday.

When there's work to be done,
it doesn't matter what day it is.

We have so little time...

That's why l always give priority to my work.

Rest comes later.
You never know what tomorrow will bring.

You can't predict the future.
Even the immediate future.

That's why we must try to make the most
of the opportunities that come our way.

That's what l'm doing.

lt's rare you get the opportunity to work.

You can't always choose when to rest.

That's why l don't stop working

on a Friday or during the summer.

l love my work and l have to finish it
before l can rest.

There are so many days in the week

when we are unable to work.

l'm prepared to work day and night

as long as your boys
maintain their enthusiasm.

But l sense that their interest is fading.

l can't imagine why it is, though.

Mehrdad has done some very good work,

but he seems to be
becoming less motivated.

Who knows?

l'd like to know why.

lf he had stayed
as keen as at the beginning...

l'd have worked day and night.

lt would've been no problem.

Yes? Come in.

- lt's Mr Farazmand.
- Excuse me.

- How are you?
- Fine, thank you.

l hope l'm not disturbing you.

Not at all.

- This is Mr Mohseni.
- How do you do?

- Mr Makhmalbaf.
- Pleased to meet you.

Please sit down.

How do you do, Mr Ahankhah?

l hope l'm not interrupting.

- Can l have a word?
- Of course.

Can we start the rehearsals?

l'll be right with you.

Mr Ahankhah, l need a tape recorder.

Mr Farazmand needs a tape recorder.

- A portable tape recorder.
- We don't have one.

- What about your neighbours?
- l'll ask them.

Let him finish his meal.

- Don't let them take him away.
- Don't worry, he'll be back.

ls this your first offence of this kind?

Yes, it's the first.

- Yet l heard that...
- People take me for Makhmalbaf.

- So it's not the first time.
- People have taken me for him

and l did nothing to correct them.

Do you regret what you did?

Yes... l know that justice must be done.

But l regret having toyed with their feelings.

That's the only reason l'm ashamed.

Deep down, l never had the slightest
intention of stealing from them.

l'm sorry for what l did,
but not for the time l spent in prison.

Prison is good for good people
and bad for the wicked.

lt teaches good people a lesson
but the wicked get worse. l repent.

- Been to prison before?
- Never.

- What is your trade?
- l worked for a printer.

Why did you search every room

in their house?

l was playing the part of a director.

l said that we'd do the shot
from such and such an angle...

Have you ever worked in film?

No.

But l've read books on the subject.

Screenplays
and books about how to direct films.

l went through the motions
of rehearsing scenes.

You also asked them
to cut the trees in the garden.

l said that for the scenes
we'd shoot in the garden,

the trees would obscure
the view of the house

and Mr Ahankhah agreed to cut them down.

Then, l said that we could use other angles.

Was the idea of filming in the house

yours or theirs?

Mine, but they liked the idea, too.

Did you intend to ask them
for money for the production?

- To produce the film?
- Yes.

l put forward a project to them.

lf l'd had the money, l would have shot it.

They seemed to want to get involved

in a film project.

l never thought
it would turn out the way it did.

He repents of his faults.

l wish to ask the plaintiffs

if they would agree to pardoning him.

Of course, his offence is punishable by law.

But their pardon could be considered
as extenuating circumstances.

l would have pardoned him
if he had been honest.

But when l hear him,
l get the impression he is still acting.

He's still playing a role,

even if it's a slightly different one.

lnstead of playing Makhmalbaf,

he is playing a sentimental person.

l'd like Mr Farazmand to tell us

about the various people
who contacted him about this man.

Do you have new evidence?

Yes, l do. l've been following the case.

What is the title of the article you wrote?

''Bogus Makhmalbaf Arrested.''

Bogus Makhmalbaf?

When the paper came out,
l received a lot of phone calls.

One of them was from a woman
l haven't been able to find since.

She said that a man
who claimed to be Makhmalbaf

had promised to give her a part in his film.

He had even promised to marry her.

She wanted to file a complaint and l told her

she should come to the trial to tell her story.

But she refused.

l also got a call from a printer's

saying that the accused
had misappropriated funds,

such as keeping the money
from a delivery of paper.

Well, Mr Sabzian...

Concerning the lady's phone call...

Since you're single now, you could've...

l deny everything
and l am prepared to confront her.

l worked as a salesman

for a trading company.

l'd call on clients

and show them my samples.

The day l met Mrs Ahankhah

l was short of money

and l'd left home without eating any lunch.

When Mrs Ahankhah
took me for Makhmalbaf,

l thought that l could perhaps go

and have lunch at her house.

l only did it to have a meal.

l would like to add...

an important fact.

On the day l was arrested,

l had written Mr Ahankhah's address

in my notebook and l wrote next to it

''The Last Tragedy''.

- You knew...
- l sensed it.

l sensed the end was coming
and l wrote it down.

My tragic end.
l'm sure they read it at Police HQ.

l knew that l'd be arrested
because of the money

that l'd received
and because l'd spent the night there.

But l couldn't stop myself

going back to that house.

- Why?
- l loved playing that part.

l enjoyed playing the part of Makhmalbaf

and arousing their respect and admiration.

lt did my morale a lot of good.

l also thought they'd give me
some financial support.

But that day when he came
to pick me up on his motorbike,

l felt ill at ease.

But l decided to go with him nevertheless.

As l arrived that last day,
l knew l'd be arrested.

When l phoned Mehrdad
to fix an appointment with him

at Hosseinabad Square,
l knew it was a trap.

When Mehrdad arrived at the square,
he was astonished to see

that l was waiting for him,
which confirmed my suspicions.

l made a note of it and they read it

at Police HQ.

- Where is this notebook?
- l tore out the page.

l tore it out,
because l thought it was all over.

When did you realise
your pretence had been discovered?

On the last day.
During the evening l spent with them,

l saw a film magazine lying around.

lnside was a photo of Makhmalbaf.

He was directing one of his actresses

in a scene from Marriage ofthe Blessed.

l sensed that they had bought
this film magazine,

because there was this photo in it.

They wanted to see how l'd react.

They showed me the photo

and said to me,
''You were more handsome

''when you were young, Mr Makhmalbaf''.

l said to them that l was much younger then.

At that moment, l sensed
that they were suspicious.

But l soon convinced myself

that they didn't know l wasn't Makhmalbaf.

How far did you want to take this?

As far as they were...

prepared to go.

When he came
to our house on the Thursday,

he had grey hair.

But on the photo,
Makhmalbaf's hair was black.

l didn't ask him why, but he said that his hair

had once been black and it was now grey.

When he returned that Saturday,
he had dyed his hair.

How does he explain that?

My mother, who is right here,

can confirm that l dyed my hair

a long time
before this whole episode began.

l wanted to look a bit younger.

You are young.

l've been dyeing my hair for a long time,

and it wasn't for the reason
that was suggested here.

- Are you married?
- Yes.

- You have a family?
- l'm divorced.

Why is that?

l was poor and out of work.

- Any children?
- Two.

- Where are they?
- l have one, my wife the other.

- Who looks after him?
- My mother.

- Where is your mother?
- Right here.

- Where?
- At the back, wearing a black veil.

- Are you Mr Sabzian's mother?
- Yes.

Do you know why he divorced his wife?

- Why?
- He works for a printer off and on.

He's often out of work.
Our house is small. After he married,

they got a room of their own.

After seven years,
his wife started complaining

that there was no future
for her in our house.

He said that if she wasn't happy,

the best thing would be to divorce.

They agreed
she'd keep one child and me the other.

He lives with me. When he has work,

he supports his family as best he can.

He's never been in trouble before.

Why didn't you try to get bail for him?

l went to see the officer in charge.

l also asked to see Mr Ahankhah.
But they said they'd handle it.

Every time l feel sad in prison,

l think of the verse
in the Koran which says,

''To remember God is
the best consolation for a troubled heart''.

l feel the need, when l'm depressed
or overcome by worries,

to express the anguish in my soul,

all my sorrows

that no one wants to hear about.

And then, l come across a good man

who portrays all my sufferings

in his films, and makes me want

to see them over and over again.

A man with the courage to portray people

who play with others' lives,

the rich who are indifferent
to the needs of the poor...

simple needs which are mainly material.

That's why this book
brought me consolation.

lt speaks of things
l'd have liked to express myself.

Now, having played this part, do you think

you are a better actor than a director?

lt's not for me to say.

l think l prefer being an actor.

l think l could express

all the bad experiences l've had

and all the suffering
l have felt deep down inside me.

l like to think that l could

get these feelings across

through my acting.

Are you not acting
for the camera right now?

What are you doing now?

l'm speaking of my suffering.

That's not acting.

l'm speaking from the heart.

For me, art...

is the extension of what you feel inside.

Tolstoy said,

''Art is a sentimental experience

''that the artist develops in himself
and shares with others''.

l think that my experiences of hardship

and suffering can give me
the grounding l need

to be a good actor.

That way l act well and l express

my inner reality.

Why did you pretend to be a director,
rather than become an actor?

Playing the part of a director
is a performance in itself.

To me, that's acting.

- What part would you like to play?
- My own.

You are playing your own part.

Mr Sabzian, you have heard

the charges against you.

Say whatever you think
might help your case.

l ask Mr Ahankhah's honourable family
to forgive me.

l'm not asking
to be spared the sentence l deserve.

l need their pardon

to soothe my conscience.

l ask the court to forgive me
if that is possible.

Do you promise never to do it again?

l promise.

The accused...

Please forgive him.

Sit down.

My son is a descendant of the Prophet.
For his sake...

please forgive him.

ln view of his young age,

the fact that he has a family to support,

that he has no record,

and that he promises never to do it again,

l would ask the plaintiffs
to forgive him if they can.

But as l said before,

their pardon could only be considered
as extenuating circumstances.

ls this the case?

l am willing

to withdraw my complaint
in the hope that Mr Sabzian

may become a useful member of society.

Now l know he regrets what he did,

if my son Mehrdad is in agreement,

l will withdraw my complaint.

His actions are the result

of the social malaise and unemployment.

But this is not the place to debate that.

He is therefore not the only one to blame.

Unemployment can lead to delinquency.

l am certain, after he has been freed,

if he finds a proper job,
he will lead an honest life.

That's why l too withdraw my complaint.

We've lost him!

He didn't wait in the right spot.

l can't see him.

We can't redo this shot!

- l can see him.
- Yes, he's behind the taxi.

- l see him.
- Me, too.

We've no sound!

What on earth's going on?

lt comes from Mr Makhmalbaf's lapel mike.

lt's old equipment.

There's a loose wire in it.

lt's 15 years old.

The sound's back!

Will it last long?

We can't do anything.

Are you Mr Sabzian?

How are you?

Don't cry.

There's no need to cry.

When were you released?

Let me look at you.

When were you released? Look at me.

Let's go.

This way.

You OK?

- Where are you going?
- The Ahankhahs'.

l'll take you.

Had you seen me before?

- ln the film.
- Which film?

Marriage ofthe Blessed.

Do you prefer
being Makhmalbaf or Sabzian?

l'm tired of being me.

l'll get the motorbike.

Hold that for me.

How long were you in prison?

When you met that woman in the bus...

ln your opinion...

That's very true.

Now l see what that means.

Do you want to buy some flowers?

Count your money.

Be careful with your money.

Here, take this.

Not yellow ones.

Pick a different colour.

Red's better.

- Yes?
- Hello, it's Mr Sabzian.

- Who?
- Sabzian.

Makhmalbaf.

- Yes?
- lt's Mr Makhmalbaf.

- Hello. Come in.
- Hello.

What's the date, Hossein?

The 3rd.

When did you come here first?

40 days ago.

- Hello.
- Hello, how are you?

- You know Mr Sabzian.
- Yes, indeed.

Please forgive me, Mr Sabzian.

Mr Sabzian has changed.
Please see him in a new light.

l hope he'll be good now
and make us proud of him.

Subtitles by J Miller and S Farsi