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A fair chunk of From Tehran to Heaven’s third act takes place in the desert. The pregnant Ghazal finds herself there after a desperate hunt for her missing husband, Farhad. The only clues she has are a note saying “I’ve gone to heaven,” a couple of shady characters who may or may not be trying to help her, and sudden oddities, such as electrical glitches, panicked passersby, and, oh, being briefly kidnapped. The note is on the back of an old photo, and wouldn’t you know that not only can her dementia-addled father ID the location, but Ghazal is also an expert at no-man’s-land navigation, falling asleep at the wheel and waking to nothing but sand. Ghazal also apparently solves the mystery, but the viewer will still be puzzled, with the film suffering from terribly translated, quick-moving subtitles, some questionable continuity, and a too-heavy reliance on elliptical storytelling at the risk of clarity. Perhaps it’s all a big metaphor—the film is the desert, and its plot the mirage.