With no shortage of feral dogs roaming the desert at night, it’s no real surprise that a family heading home manage to hit one with their car. This upsets the daughter, but with her mum reassuring that her dad didn’t do it deliberately they manage to get their vehicle closer to home before it gives up. Luckily, they are outside a shop where a kindly soul offers to help with some temporary repairs. Upstairs, preparing for a wedding next day, is “Vahid” (Vahid Mobasseri) who begins to act furtively when he hears their guests. He follows them home, stakes them out and then follows “Eghbal” (Ebrahim Azizi) as the car is towed for repair next morning. Why? Well things become even more curious when he bashes the man over the head with a shovel and bundles him into a van which he proceeds to drive into the arid wilderness. He digs an hole, he bundles the man into it, he prepares to fill it in burying the man alive. Who is this man? What could he have done? Well his pleading for mercy manages to introduce an element of doubt in the mind of “Vahid” that he is not the man he thinks. As these uncertainties grow, “Vahid” seeks the corroboration of wedding photographer “Shiva” (Mariam Afshari) and it’s from here on in that we begin to get an idea of just who they think their prisoner is and what he is supposed to have done. Initially, she wants nothing to do with his scheme but the couple about to be married also turn put to be connected, as is her ex-boyfriend “Hamid” (Mohamad Ali Elyasmehr) and soon the morals of two wrongs not making a right are being widely discussed by a group united in their loathing of “Peg Leg”. Just to add to their indecision, their captive’s phone is constantly ringing and when they discover his young daughter is concerned for her heavily pregnant mother who has collapsed at their home, the gang of would be assassins face a moral dilemma of their own. As the plot develops, there is comedy here. It’s dark, and not exactly laugh out loud, but it helps contextualise a very human story of revenge tinged with plenty of humanity. These people are not inherently brutal, indeed the portrayal by Mobasseri of a man riddled with fury is effectively tempered here by his caution, his reluctance to get it wrong and then, in tandem with his colleagues, their sense of integrity. It’s set amidst a bustling city where people are subconsciously looking over their shoulders, terrified of being apprehended by authorities who might torture first then ask questions afterwards, but even that isn’t overwhelmingly presented, it’s implied more as the story unfolds. The acting, from largely amateur actors, is engaging and characterful with plenty of banter to keep it entertaining - even if the underlying subject matter is horrifying, and I must confess that the final scene of the film which is, like so much of this, largely about the audio is one of the creepiest endings to a film I can recall.