In this film, Akbari documents her life’s routine four years after “Ten” and adopts in part Kiarostami’s documentary-fictional approach. Her life dramatically changed since “Ten.” She was diagnosed with breast cancer and she underwent surgery for the removal of the cancerous tumor. Because of the chemotherapy, she lost all her hair and, as result, she stopped wearing a kerchief to cover her hair as prescribed by the laws of Iranian society. The camera accompanies her in her car, in hospitals and in meetings with friends in various places in Tehran. In her book, Illness As Metaphor, Sontag argues that the metaphors and myths associated with cancer actually empower cancer patients. In contrast, Akbari adopts a different perspective toward the disease: She turns it into a weapon for expressing criticism and aims that weapon at Iran’s patriarchal society where women are consistently oppressed. Cancer is always disruptive, representing a break in one’s continuum and creating an irreversible moment. In Akbari’s case, that is the moment when she becomes not only one of Iran’s leading directors but also an international symbol of the struggle against phallocentric, hegemonic logic.