Banned from making films by the Iranian government, Panahi protests by making contraband films from within his internal exile. For Taxi Tehran he rigs a taxi with three hidden video cameras and surreptitiously films a drive around Tehran, with himself at the wheel ferrying assorted passengers, most of them actors. Although staged, it has the feel of spontaneity. Panahi has made an inventive work that remains visually lively throughout, despite its formal restrictions. The film ends without credits; instead it gives an explanation that he cannot name anyone because the Ministry of Culture and Islamic Guidance would not approve credits on an undistributable film, as this one is deemed to be.