Cas de conscience

This is an intense and complicated Iranian drama starring Amir Aghaee as Dr. Kaveh Nariman, who one night driving on the highway accidentally hits a family of four riding on a motor scooter. As details emerge from all parties involved, the consequences of this incident will become enormous.

The movie, directed by Vahid Jalilvand, who also co-wrote the screenplay with Ali Zarnegar, kept me engaged and interested throughout. Aside from Aghaee, look for fine performances from Hediyeh Tehrani, Navid Mohammadzadeh, and Zakieh Behbahani.

Overall, this is a powerful film with loads of realism. I did think the surprise ending was somewhat implausible but for those that like intense foreign films, this one may very well be to your liking.

Both concerns are secondary to the major theme of the story which is how a small incident can unexpectedly affect so many lives. Also, wonder if this script is a reflection of current Iranian society. 1. First, the investigative, judicial, medical institutions permitting a physician that was intimately connected with the death of a young Iranian boy to perform an autopsy. And, that it was allowed into court w/out independent verification or legal & police oversight & followup. 2. Disturbed by how males communicate to females as if they were training a dog. Only when they themselves are in trouble do they show some submissive compassion.

A strong connection between guilt and moral compass.conflicts of a man in an ethical dilemma.it takes 2 minutes for you to connect with the characters and the story.

A mirror of Iranian cinema that reflects the personality of the protagonist from the point of view of the doubt of existence.

In this movie, several seemingly small decisions result in a cascading shower of unexpected and disproportionately unfortunate events. This may sound like heavy-handed Greek tragedy (or Persian tragedy in this case), but the actors and the director keep the movie grounded and real. The acting is very solid.

On the negative side, there were several points where the story is following the lead-up to a key event in some detail and then jumps past the event itself. It seems like an odd and anti-dramatic editing choice.

Note. As with almost any Iranian film for adults, it is a useful corrective for us Americans and our stereotypes of downtrodden Iranian women, to see how tough-minded and outspoken the women can be.