“Nazarbazi” means “the game of looks” in Farsi. It describes the discreet forms of communication, which have replaced in the Iranian post-revolution cinema censored depictions of intimacy and touch between men and women. The film attempts to touch the spaces we cannot touch, the inner feelings and sensations, but also the unvoiced prohibitions and regulations, which can only be revealed when physically experienced. The film utilizes poetry and silence as sole language with which we can attempt to touch these spaces of social ambiguity.