The one escorting them to the police station asks for some intelligent criticism of the film Argo, so he can pretend he's seen it. They're not alarmed by the girls' breath tests. The police are surprisingly considerate, given what we hear of Iran. Toofan pays the man's car damages and disappears when the police come. After this humorous scholarship toilets become a pressing need for the girls. Toofan explains the history of Western toilets and their debt to Iran and China. The second is the mysterious stranger Toofan who crops up there and continues magically to till the end. Driving the wrong way up a one-way street, they hit another car. Two things jolt the girls out of their sense of power. Later the elevator will run out of her control, with her friend first inside then magically transported to the high-rise's roof where her life is endangered. In the first the redhead stops and starts the elevator doors from the outside, mischievously playing the machine. A couple of elevator scenes frame their change in attitude. In short, they appear to be two young women exercising a power we're astonished to see Iranian women have. They're brassy when they talk to their male friend and a cop. The girls begin as most un-Iranian heroines: self-indulgent, tipsy, indecorous, flashy, stylish, keen proponents of Western culture, as they sing "We Are the World" and cite Celine Dion. It's a surrealistic version of Taxi, with two 20-something dyed-hair party girls navigating the wild night streets of Tehran in place of that film's earnest driver. Atomic Heart flies in the face of everything we know about Iranian cinema.
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