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The long, unbroken take ends and we cut to the driver, an elegant woman in red lipstick, sunglasses, a colorful blouse and a modest scarf.Improvised from Kiarostami's outline and performed in the streets of Tehran with a fixed digital video camera in the dashboard recording the event, the scene has a quality far removed from the stylized naturalism of most of the director's conversational scenes, but in some ways is more intimate and immediate.A succession of passengers climb in and out of the passenger seat for the 10 rolling conversations of the film, each methodically counted down. The dialogue ranges from polemic to playful (the odd grilling of a giggly but defiant young prostitute) and the conversations have odd but compelling rhythms. It all creates a marvelous tension between the formal design and the improvisational style.There's no doubt that Kiarostami is giving us a lesson in social politics, but the education lies in the mosaic pieced together from conversations and situations.
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