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Movie The movie report deals with the life of an employee of the Finance Department (Mohammad Firoozkoohi). At the beginning of the film, instead of being with his family, the employee goes to a night party with his colleagues on the occasion of the birth of the head of the department. It is here that, despite his inner desire, he has an affair with a prostitute. He continues these behaviors and goes to the casino the next night. These things, along with the expiration of the lease agreement, create a negative atmosphere in the house. Eventually, he was suspended from work for receiving a bribe, and from there, his problems, especially with his wife (Azam Firoozkoohi), began with Shohreh Aghdashloo playing. The film explores the opportunities that young couples have because of their pride in telling the truth. Eventually, after a heated argument, Muhammad leaves home with the child. On the way back, he finds Azam taking pills for suicide and takes her to the hospital. The movie ends in the morning with the sun blowing. Azam regains consciousness, Mohammad, who is next to the hospital bed, wakes up and goes to look for their child who is sleeping in the car. This film presents a negative image of the life of the middle and modern class of society, those who should be the driving force of change in society are unable to solve the smallest problems of their lives. This film is in line with other intellectual films of Iranian cinema in the 1940s and 1950s in taking a critical stance on modernization. This film presents a negative image of the life of the middle and modern class of society, those who should be the driving force of change in society are unable to solve the smallest problems of their lives. This film is in line with other intellectual films of Iranian cinema in the 1940s and 1950s in taking a critical stance on modernization. This film presents a negative image of the life of the middle and modern class of society, those who should be the driving force of change in society are unable to solve the smallest problems of their lives. This film is in line with other intellectual films of Iranian cinema in the 1940s and 1950s in taking a critical stance on modernization.

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