A student is looking for help with a situation that would be sensitive in many countries but which, in Iran, is much more pronounced. The girl is going to be visited by her parents, who will spend a few days in her house, and is desperately looking for someone who can take her baby for those days, or at least for the first night, to gain time to find a more lasting solution. The parents do not know of the existence of the baby that the girl insisted on having, as a single mother. She does not want to, cannot, will not tell her parents and finds a transitional but effective solution to prolong her secrecy and silencing within the family institution. A recurring theme in Ali Asgari’s work, the more-or-less successful dexterity and ingenuity in faking palliative solutions to major problems affecting women (but not only: the broad issues of parenthood, identity, ethics, or the law come to the fore in almost all his films) are presented in a sober, simple and often cold way, giving his stories a documentary slant with a power of increasing reflective silencing of the spectator. Here, it is not the child that is at risk, nor is it the mother, but the very idea of motherhood. (LL)