I am surprised by the plethora of high-risk scenes—uncut—performed by Vossoughi, such as the one where he throws himself onto a speeding train and hangs there, in the purest and most intrepid style of MI6’s James Bond or the recklessness of Tom Cruise, and all for a commercial film—albeit with an unusual narrative rhythm that has little or nothing to do with today’s commercial cinema.

Seriously, without being bloodthirsty, the bandit Rashid in this story has less remorse than Dostoevsky’s Raskolnikov for murdering the old woman in a wheelchair on the spiral staircase of his own residence. He also steals Nazi, the beautiful wife of another crook, Hamed, who is hiding him in his shack in the countryside facing the sea. I admit that Rashid fooled even me, the viewer, with his ruse about looking for the jewels from the robbery in a secluded forest, but from the beginning, after fleeing, it is clear from the plot that he enters the dilapidated and filthy mine, although it is not clear that he leaves the stolen jewels there. In any case, he tricks Hamed and pushes him into a not-so-deep ravine.

He immediately mounts his horse and returns to the hut to fornicate with Nazi, who at first resists, but in less than a few seconds of constant kissing, the beautiful woman gives in and cooperates with the fatuous hymen, and the photographically contrasting scenes are undoubtedly ecstatic.

Hamed arrives about an hour later, furious from walking, and the fight that began when he arrived at the hut is reignited. Hamed emerges victorious once again and contributes to everything, for example, not killing the daring man for knowing where the stolen goods are.

Later, another pair of crooks arrive at the scene, and one of them is killed by Rashid after a clean fistfight that takes them to the outskirts of the hut, where Rashid drowns his opponent in the salt water, but it is Nazi who arrives and ends the skirmish by stabbing the guy with an axe.

When Hamed arrives later, he asks the same question to the crook Rashid, who is in crisis: ‘Should I escape and leave everything behind?’ They discuss it in the dim light of the night, sitting together in front of the waves. Finally, he dares to take Hamed to the right place, the mine, and they both ride to the secluded spot.

While Nazi sets fire to the hut, burning bridges for a better future, it is perhaps his idea. But it will not be so. The greedy Hamed enters the mine despite the danger and is crushed by a falling architrave, but he does not die. From outside, Rashid leaves, but when he picks up Nazi at the hut, he questions his mentality again and decides to return to save Hamed and the girl. In fact, they enter the mine, but outside they are surrounded and warnings can be heard. Before leaving the mine, Hamed uses the shotgun and shoots Rashid in the back. Nothing for anyone.