Film goofs - page 13

In the final scene, as the camera moves closer to Ehsan and Mamdouh in the village by the lake, the plants can be seen moving because the camera bumps into them.

When Laila runs over to Amaal as she returns home and finds Uncle Ibrahim and Hamdan in the house, we see her place her hand on Laila's shoulder, but in the next, close shot she is holding her arm slightly lower.

After Amaal returns from meeting Mamdouh in the garden, she tells the nurse Shefa about it in one of the rooms, and the reflection of the microphone's metal can be seen on the glass of the wall clock in the background, behind Shefa's desk.

When Amal goes out in the evening, we later notice that the car is driving in daylight, not in the evening as it should be.

When Zahra calls Fatma to speak to Mamdouh on the phone, on the day after the drunken party, the shadows of the camera and microphone can be seen moving over the door and the wall in the background of the scene.

When the camera moves closer to Ali as he tells Amaal that he did not cry when he boarded the plane and moves away from her, the camera's shadow can be seen moving over his clothes as it approaches him.

In Dr. Moustafa's conversation with Ali, when he tells him that medicine is constantly advancing, he puts his hand on Ali's shoulder, but in the close-ups of Ali's face we do not see his hand on his shoulder, and this alternates from one shot to the next more than once.

When Ali cries while talking with the four doctors after discovering Amaal's illness, we see him place both hands on his chest together, but in the next shot from the other side, each hand is separate.

Amaal talks about waiting for Ahmed on the beach at sunset, and we see Ahmed with the sun behind him at sunset, but in the immediately preceding shot the sun is facing him, meaning it is morning, and the sea has waves unlike the next, closer shot. Then, when Amaal appears toward him again, the sun is once more facing Ahmed rather than behind him. This repeats between their shots more than once.

When Zahra plays hard to get and asks for the nylon stockings, the position of her hand beside her face changes between two consecutive shots.

When Zahra talks about Saber, the position of her hand beside her face differs between the long shot and the close-up.

In the film's final scene, we see the camera's shadow moving with it over the crowds.