The screenplay weaves the two men's discovery of their differing memories directly into the film. In fact, much of the film revolves around the choosing and coaching of the young actors who play their younger selves. Holden said this approach suited the film's purpose. You come to realize the impossibility of filming an objective, accurate account of any past experience, no matter how vividly remembered it may be. As for his larger cinematic objectives, Makhmalbaf believes the revolution fostered Iranian cinema like flowers in a hothouse.
People now show greater enthusiasm for artistic films.
Of course, Iranian cinema has a few characteristics. One is that it has more focus on reality. Because, more than anything else, it's life that changes, that moves. If one only refers to one's mentality, especially at the height of intellectualism, one inevitably arrives at pessimism or darkness. The Iranian cinema can be compared with Italian neo-realism, but without the darkness that existed in that kind of cinema.