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In this personal documentary, Aryana Farshad seeks out the spiritual rituals connected with sacred sites in Iran, her home country which she has not visited since the establishment of the clerical regime of Mullahs in Iran for more than twenty-five years. She documents prayer at the Great Mosque of Qom, Kashan, the land of Zarathustra, and male and female dervishes in Kurdistan. Through her examination of these various spiritual influences, she comments on the use of religion as a buffer between the pull of Western culture and the rules of traditional society. the film is beautifully narrated by the Academy Award nominee Shohreh Aghdashloo.

Reza, who carries on his motorcycle film prints for movie theaters, gets involved in a robbery, and ends up in a madhouse. Taking advantage of his resemblance to writer, who visits the madhouse for research, Reza escapes and is forced to fill in the position of the missing writer in a social milieu of which he knows nothing.

When he falls in love with a girl of the new social milieu and decides to restore the stolen money, he is suspected of betrayal by his accomplices who attack him in a movie theater, leaving him mortally wounded.

Reza and Ghaissar (both played by Behrouz Vosoughi) belong to the lower social classes. But Ghaissar represents the traditional values, Reza is from the newer generation that is not familiar with the heroism and nobility of the previous generation.

It has been said that Kimiaee like Jean-Pierre Melville sympathizes with the social outcasts, and that like Sam Peckinpah he sings the elegy of the "last generational" The audience easily identified with Reza, if only because like Ghaissar he represented social injustice.

But the critics did not value Reza, the Motorist as much as they had praised Ghaissar, perhaps because of the fantastic element in the story (the unusual resemblance of two characters) Works like this, in the form of a film, usually help change things. Talent as they say, has no boundary.