Two brothers, who we guess are between 4 and 7 years old, deal with their morning routine before school. We recognize a certain autonomy and maturity, but also the naivety characteristic of these ages, both important factors for the credibility of the plot. What follows is simple: the brothers are tired of living with their father and leave for Istanbul to look for their mother, thus defying the paternal orders. The arguments can be summed up in a few words because Asgari and Samadi explore above all the dramaturgy of the bodies and the drama of the dialogues, in a camera that permanently surrenders to the face, human “par excellence”. However, this journey of the two pilgrims – who, like all pilgrims, are on their way to a place where what awaits them is only the partial end of a path – is above all a symbolic movement. Although it is not a dramatic film – it would be easy to lose sobriety when presenting this story – the moments selected by the directors to give us a glimpse of the affliction of banality are of an extreme eloquence: pedophilia, assault, lies, theft, punishment, hunger... everything lurks, everything is guessed, but almost nothing happens. Or does it? (LL)