[2] Taghvā'i attempts to pay attention to the most minute details of the film (for instance, the accuracy with which the separate consecutive shuts match, or the precision of the angles at which the communicating actors look away from the camera).

The dialogues of the film are replete with terse remarks and critical commentaries on the contemporary political and social conditions prevailing in Iran.

The opening scene depicts some moments before the family starts a very active day (the day at which the two children of the family, Shangul and Mangul, have their first school-day after the summer school-holiday) and the closing scene, the end of a protracted Friday night,[7] during which Jahāngir and Royā have spent an intellectually and emotionally exhausting night.

Although the work presented by Taghvā'i certainly qualifies as a surrealist art-form, this motionless pendulum serves as a more profound tool than a means that solely hints at surrealism.

Briefly, Taghvā'i and Ms Minoo Farsh'chi, the co-author of the film script, variously refer to the theory of eternal recurrence, as revived by e.g. Friedrich Nietzsche, with a strong emphasis on the importance of having a creative mind thereby to forge room for free will in at least an imaginative world.

The deliberately ambiguous circumstance in which the intense discussion between Royā and Jahāngir takes place, greatly enhances the power of the words exchanged between the two characters.

On the other hand, while Jahāngir appears to be disconcerted, one cannot escape the suspicion that he may in fact be a willing participant in the creation of the script that Royā is in the process of creating.

It has been speculated that what one is witnessing is the film, or at least a rehearsal of it, is actually based on the script written by Royā, with all the members of the family playing their allotted roles.