The last one in the Koker trilogy but not forgotten. This one could only be described by legendary Benoit Blanck and this is how he would describe it: 'We must look a little closer. And when we do, we see that the doughnut hole has a hole in its center. It is not a doughnut hole, but a smaller doughnut with its own hole, and our doughnut is not holed at all!'

This film is a masterpiece, and can easily be seen and understood without the two previous films.

It revolves around a scene in which Hussein, a very low-class, insecure person, has to play the groom of Taheren, the girl whom he loves in real life. The fictive scene in which they are married, and Hussein's dreams and hopes of marrying her, mesh together and develop as the film goes on. It's all very moving, sensitive, even mesmerizing.

There is a constant reference to something or someone 'behind the trees,' perhaps a pointer at something beyond the film's scope and ability of description. In the end, the stubborn and proud Taheren also disappears behind the trees, and Hussein is left standing alone.

A very sensitive and moving film. Hussein's character, always dreaming and fantasizing about things that cannot be, is touching and endearing. The issue of fiction vs. reality, imagination vs. real life, is dealt with great wisdom and subtlety. One of Kiarostami's best.