Gutsycurene Fanciful, disturbing, and wildly original, it announces the arrival of a fresh, bold voice in American cinema.

Roy Hart If you're interested in the topic at hand, you should just watch it and judge yourself because the reviews have gone very biased by people that didn't even watch it and just hate (or love) the creator. I liked it, it was well written, narrated, and directed and it was about a topic that interests me.

Skyler Great movie. Not sure what people expected but I found it highly entertaining.

Jerrie It's a good bad... and worth a popcorn matinée. While it's easy to lament what could have been...

runamokprods An interesting experimental Iranian film, shot on DV, with shades of John Cassavettes. A series of 7 vignettes about married couples. Each story is about different couple, but all are played by the same two actors. Each scene is one shot only, mostly close ups panning back and forth, while the couple is on some mode of transportation (a motorbike, a train, a ski lift). The acting has a rough, improvisational feel, that works very well for the most part. The only negative is that the film starts to get repetitive in theme as well as style. Each story is about women being repressed in some way, and while I understand that's an important theme (in Iran, but really anywhere) I wish it had covered more elements of how couples relate. Still, I'm glad I saw it.

Rob Brown (cinephiliac) 20 Fingers strives to portray events in a realistic manner. Everything contributes to this concept. The conversations are seen in their entirety in long takes, shot in natural (practical) lighting and in real-world locations with 'stolen' footage. The sense that this is a film about a real Iran is palpable and exciting, even given Iranian cinema's usual favoured realism. Out of this, one response is to question if there is an actual narrative to the events, or whether these are simply snapshots. It is very difficult to place the conversations in an order, so this seems to obstruct an attempt at creating a 'story' out of these events. This only serves to increase the realism – after all, real life does not run to any pre-conceived plot. However, the realism means that this relationship is assumed to continue after each fade to black, so the conversations that are shown may construe some particular meaning. Even from the first conversation there is a sense of conflict between the two. This is referred to in every conversation as jokingly 'the games we play'. One criticism I think can be levelled is the familiarity of this phrase in popular culture, certainly western culture, and so in some moments its inclusion can seem a little trite – though perhaps the fault lies in a lazy translation. However, obviously the idea of the relationship being a game runs throughout, and this lies in stark contrast to the perception of Iran as a formal, strict society.As a film made for foreign audiences, the on-screen relationship of the two actors, dynamic and amusing and often violent, is an undeniable eye-opener.

suzantalakis I first saw this film at Vancouver Film Festival 2004. A very interesting Iranian film by woman director Mania Akbari, previously known for her role in Ten by Abbas Kiarostami. A couple: Bijan Daneshmand and Mania Akbari perform their roles with such reality that I was feeling as though I was present. One feels uncomfortable at times due to the sincerity that subjects are explored. A change from previous Iranian films- here we see they have relationship and marital problems similar to those we have in the West. Whether it is about jealousy, abortion, dancing with another person, homosexuality, sexuality and so on. In the West the image we have of the East and Muslim countries is based on what we see on the news and the odd documentary. This is a lovely change. An excellent film with a very high level of performance by Akbari and Daneshmand.

hamidrichard This film is one that when you leave the cinema, you go on talking about it for days to come. It engages you. Seven conversations between a man and a woman: played by Bijan Daneshmand and Mania Akbar. They are not just conversations, they are energy charged , emotionally engaging conversations, ending sometimes in a fight or massive argument. As a viewer you get very involved, Filmed beautifully, you do not feel the presence, the existence of a camera. It flows so smoothly. The part played by the man is challenging , portraying this insecure person, and yet a man that wants to be seen strong, a middle eastern man. Pretending that he likes to give freedom to his partner, but when it really that freedom is requested, it is denied. An impressive performance by Daneshmand. Mani Akbar, seen in "Ten" over 2 years ago, gives a good solid performance as a young woman wanting more freedom and movement in her life. Highly recommended film.