Djomeh (2001)

Hassan Yektapanah's Djomeh, from his own screenplay, continues Iranian cinema's deceptively simple yet exquisitely conducted explorations of the Iranian psyche in the context of a workaday reality.

Djomeh (New Yorker) is not among the best of the Iranian imports -- its thematic compass is smaller--but it certainly shares some of the attributes of the best: patience and a belief that every human face is important.

Agonizingly slow-moving and talky, it consists primarily of conversations between two men in a truck.

An investigation, at once lucid and enigmatic, of exile, loneliness and the fragile possibility of friendship.

[S]hows such a painterly eye for framing and composition that the story is almost superfluous to the glory of its pictures.

Among the most formally accomplished of new Iranian films.