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How on earth did it come to this? In 1979, the long-divided left in Iran rallied behind the ‘revolutionary’ Khomeini, who was able to establish a theocracy right before their eyes. It is hardly surprising that the left, the so-called ‘79ers’, do not command much respect in Iran. Instead, there is a movement that longs for the days before 1979. A movement outside Iran, led by the Shah’s son. Within the country itself, a heavily armed minority has the population under its thumb, slaughtering and robbing them. The people are so desperate that they pin their hopes on a war to bring them relief. Asghar Farhadi has made his films within this system. He has won numerous film awards. His debut, Dancing In The Dust, was acclaimed by critics worldwide. Farhadi’s films are not explicitly political. They are moral. Dancing In The Dust is about marriage and money. Nazar (Yousef Khodaparast) loves his wife Reyhane (Baran Kosari), but there are salacious rumours about Reyhane’s mother, which is why Nazar is preparing for a divorce. Nobody wants this divorce. Reyhane’s life will be ruined. But Nazar has no money and is in arrears on a loan. He flees, hiding in the car of a grumpy snake charmer. Two men with very different temperaments: Nazar, who talks non-stop, and the snake charmer, who never speaks, in a hostile environment. If one interprets the artwork from a very broad perspective, might one still draw conclusions about life in Iran? In Iran, where tens of thousands of people are simply being slaughtered in a matter of days?