Looking at the eye It is quite difficult to give an unambiguous assessment of the picture of Makhmalbaf, but with a huge degree of confidence we can note the high artistic value and elegance of the symbolism carefully transmitted by the director to the viewer.
Mohsen Makhmalbaf entrusts the viewer with the divine function of contemplating our world from the third person, the realization of which is incredibly multiplied by the presence of personal cameras in the main characters, who symbolically abstract the look of the characters from the overall plan of the picture, and also give a kind of physical embodiment of the views of the father and son. The main camera of the film, engaged mainly in contemplation, carries the function of showing the wonderful simplicity of nature, while gently mocking the maximalist views of his son and persistently following his father’s attempts to get to the bottom. The most interesting is the fact that this camera and the corresponding view are not categorical and, following the basic canons of Bahá'íism, it equally recognizes any views and ideologies encountered as the plot develops.
Special mention deserves a scene with a mirror - the apotheosis of aesthetics and symbolism.
I’m not sure that the film will appeal to many, but for me, it stands out for its layering and aesthetics, and also proved to be a great example of the magic of film language in conveying metaphysical and transcendental concepts.