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Barkhord-e Kheyli Nazdik (2010)

PG-13 | | Drama | 16 February 2011 (Iran)
A car accident takes place on a highway. Both the drivers are women. Because of the injuries, one ends up in a coma, but after the investigations by police, the officer in charge of the case is doubtful.


Esmaeil Mihandoost




Credited cast:
Tina Chrikhchiyan Tina Chrikhchiyan ... Wartanyan
Shahrokh Foroutanian Shahrokh Foroutanian ... Sargord Gerami
Taraneh Koohestani Taraneh Koohestani ... Naghme
Ladan Mostofi Ladan Mostofi ... Nahid
Anahita Ne'mati Anahita Ne'mati ... Narges
Hamidreza Pegah Hamidreza Pegah ... Masood
Ramin Rastad Ramin Rastad ... Ghezel Ayagh
Narges Safdari Narges Safdari ... Fereshte
Sorush Sehhat Sorush Sehhat ... Kawe
Maryam Semsar Maryam Semsar ... Leyla


A car accident reveals Nahid and Nargess's dangerous games in this engaging drama. Through Nahid's diary, the story travels back and forth in time to justify events. Nahid, who has lost her trust in men, tries to convince Nargess that her husband Masoud is unfaithful. They end up placing a bet, and Nahid goes far to prove herself right by fabricating subsequent incidents. Events come to a head when Masoud discovers the truth. Filled with intrigue, this genre-blended mystery explores the unpredictability of life. Written by IMVBox.com

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Official Sites:

IMVBox.com | online screening link





Release Date:

16 February 2011 (Iran) See more »

Also Known As:

A Very Close Encounter See more »

Filming Locations:



Box Office


$3,000,000 (estimated)
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Company Credits

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Technical Specs

Sound Mix:

Dolby SR



Aspect Ratio:

1.85 : 1
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User Reviews

Direction of life in 'A Very Close Encounter'

Direction of life in 'A Very Close Encounter'

Majid Rahimi Jafari

'A Very Close Encounter' commences with the collision of two cars which sets out the storyline from the very beginning. At the beginning of the film the narrator hints the outcome of the plot. The film is not concerned about teaching a lesson in driving but a lesson in life, to expect the unexpected and to have ambitions. While watching this film, if you pay close attention to the details you will discover that the director is trying to guide us through the story.

The structure of 'a very close encounter' is similar to a chain, if we follow this progressive structure, and connect the links the true meaning of the plot starts to unfold. Information to do with events and situations from the past determines drama currently going on amongst the encounters.

The foundation that both the first narrator (Esmaeil Mihandoost) and the second narrator present; gradually builds up and we see that they have more of an impact in the film than we first thought. From the separate descriptions we get from the first and second narrator we are able to piece together the main idea behind the story. The description we get from both narrators is truly one of the best as it is carefully crafted to be both powerful and detailed, yet they do not give away too much too quick, which builds great suspense. The title of the film comes from a similar background to what the narrators have portrayed; a clash between two cars symbolizes and represents a point in the relationship of these two friends.

The drama surrounding, Nahid (Ladan Mostofi) and Narges (Ana Nemati) is sparked from a bet made between the two girls. Eventually Massoud (Hamidreza Pegah), Narges' partner, discovers he was played by the two friends, he then becomes the player and the tables turn.

Meanwhile, Kaveh (Soroush Sehat), who is also Massoud' friend, has fallen in love with Nahid due to another encounter. After Kaveh realizes that he has been played by Massoud he tries to escape from the situation. Close encounters in the film end with the minor accident which involves Major Gerami (Shahrokh Foroutanian) and Officer Farshad Ghezel Ayagh (Ramin Rastad).

One of the most important elements of the story is the narrative form. If we analyze the film we discover that in fact we are presented with several various narrators. The power and control that the narrator has in this piece gives more than just one interpretation. The role of the narrator informs us of the truth which has been passed on several of times between each close encounter.

The role of the narrator alternates between a high and low involvement during the course of the film. Whilst the narrator is highly involved, he is the one who controls and manipulates what is on the surface, whereas when he is less involved other major characters take on the narrative role. The narrator also has the role of presenting the ideas and thoughts from the main characters whereas at times we are directly given an insight of these ideas and thoughts by the characters themselves. Among these quotes, occasionally Narges, Massoud and Kaveh become the narrators. One of the best quotes given in the movie is from the diary of an absent character; this quote is beautifully tied in with a similar quote as the one given by the Major. The last absent quote belongs to Leila, Massoud sister (Maryam Semsar), which was given over the phone.

Even though Persian literature is traditionally outstanding, an Iranian film has never been down a similar root, which makes this piece intensely unique.

The main aspect of the film evolves around encounters and on the surface there are two opposing sides. On one side is Nahid who leaves behind an unsuccessful marriage and is the unfortunate of the two, and on the other side is Narges who considers herself one of the luckiest girls alive and is fully satisfied with her life. The condition set between the two friends (Nahid and Narges) is the main challenge of the entire film. Louis Althusser has stated that the structure and storyline which this film has followed is one of the best choices. However, the conflict on the surface between the two opposing sides is only a fraction of what lays ahead. Due to the fact that the film has a mysterious element and is constantly in suspense, it gives minor characters the ability to play the two main characters. Due to the layers within the surface being broken, it allows the structure of the film to be structured and shaped into perfection.

If we look at the film as a whole, we realize that the main dilemma of the storyline has been broken down into smaller chains which are all somehow connected. If we link these related parts together we reach a decoupage.

In reality Mihandoost' techniques and wisdom for such drama holds us in suspense which is a key factor of Hitchcock films especially in films such as 'Strangers On A Train'(1951). Mihandoost aimed for another factor to come into account. This factor is to use multiple players against each other to add tension and increase suspense. These are the relating elements of the film;

Elements in the performance: 1. Collision 2. Lighter 3. Car and Driving 4. Red car toy 5. Conditions within the conflicts 6. Games 7. Movies and Role play 8. Narrator 9. Nahid' diary 10. Visual transition points 11. Doll

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