Kiarostami captures the deep desire to simply be accepted, of a down trodden man who takes recourse to pretending to be a famous film-maker to achieve, albeit for a few days, a sense of being embraced by society.
Tehran is the backdrop, with the social dvisions resulting in pain that goes beyond the material, almost Dickensian.
As is typical of Kiarostami's films, the majority of the roles are played by non-actors, in this case by the actual persons involved in the true life tale . From the family that our pretend filmaker tries to con, to the real filmaker in person, Mohsen Makhmalbaf.
A touching journey of desire, fabrication and remorse.